Force - User Guide - v3.3
Force - User Guide - v3.3
English
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Operation ..................................................................... 38 Menu ................................................................ 71
Project .................................................................. 72
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Plugins ........................................................... 101 List Edit Mode ................................................ 171
Bassline ...............................................................101
Step Sequencer ............................................. 176
Electric .................................................................104
Step Automation ................................................. 179
Hype ....................................................................108
TubeSynth ...........................................................113 Track Edit Mode ............................................ 180
Drum Tracks ....................................................... 180
DrumSynth ...........................................................120
Global ............................................................. 183
Mellotron ..............................................................123
Samples ......................................................... 185
Solina...................................................................123
Envelopes ....................................................... 193
WayOutWare Odyssey .........................................123 LFO ................................................................ 196
MPC Instrument Collection ...................................123 Modulations .................................................... 197
Effects ............................................................ 198
Standalone vs. Computer Mode ................... 124
Keygroup Tracks ................................................. 200
Global ............................................................. 201
Samples ......................................................... 203
Modes .................................................................. 125 Envelopes ....................................................... 210
LFO ................................................................ 213
Clip Matrix Mode ........................................... 126 Porta/Mod ...................................................... 214
Effects ............................................................ 215
Navigate Mode .............................................. 129
Plugin Tracks ...................................................... 217
Mixer .............................................................. 130 MIDI Tracks ......................................................... 218
Volume ................................................................131 CV Tracks ........................................................... 219
Pan & Volume ......................................................131 Anatomy of an Envelope ...................................... 220
Sends ..................................................................132
Sample Edit Mode ......................................... 221
Effects .................................................................133
Settings............................................................... 224
I/O .......................................................................134
Trim Mode........................................................... 225
Pad Mixer....................................................... 135 Assigning Samples .......................................... 228
Processing Slices & Samples .......................... 230
Volume ................................................................136
Chop Mode ......................................................... 234
Pan & Volume ......................................................136
Converting or Assigning Slices ........................ 237
Sends ..................................................................137
Processing Slices ............................................ 240
Effects .................................................................138
Pad Mode ........................................................... 243
I/O .......................................................................138 Assigning Samples .......................................... 246
Processing Slices & Samples .......................... 247
Browser.......................................................... 139
Sampler.......................................................... 251
Arrange Mode ................................................ 142
Auto Sampler ...................................................... 255
Switching Between the Arrangement and Clips ....144
Editing Arrangements ...........................................145 Looper............................................................ 257
Arrangement Track Editor ....................................153 XYFX Mode .................................................... 261
Locate Popup ......................................................154
Macros ........................................................... 264
Saving and Exporting the Arrangement ................155
Learning Macro Assignments .............................. 265
Clip Event Editor ............................................ 156 Editing Macro Assignments ................................. 269
Audio Tracks ........................................................158 Knobs ................................................................. 270
MIDI Tracks ..........................................................161 Crossfader .......................................................... 273
Velocity/Automation Lane .....................................168 XY Pad ................................................................ 274
Pad Grid ............................................................. 275
Clip Editor ...................................................... 169
Env Follower........................................................ 276
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Live Control Mode ......................................... 278 Addenda ..................................................................... 333
Control Bar ..........................................................280
Matrix View ..........................................................281 Updates in Force 3.0.2 ....................................... 333
Mixer View ...........................................................282
New Features ................................................. 333
Device Control View .............................................283
Splice Integration................................................. 333
Control Map .........................................................284
Browser Audition Warp and Sync ........................ 334
MIDI Learn ..................................................... 286
Updates in Force 3.0.3 ....................................... 335
Sounds Mode ................................................ 288
New Features ................................................. 335
Pad Color Mode ............................................ 289
Ableton Live Set Export ....................................... 335
Callout Menus ..................................................... 335
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Updates in Force 3.0.6 ....................................... 378
6
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.
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:
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.
7
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 Power
SD
Card
8
Features
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 Main L/R outputs.
4. Play: Press this button to start transport playback.
Press Shift and this button to start transport playback from the current playhead position.
5. Stop: Press this button to stop transport playback. Double-press this button to immediately stop all sound.
Press Shift and this button to stop transport playback and return the playhead to the beginning.
6. Record: Press this button to start or stop clip recording.
Press and hold this button to view the Start Recording window.
Press Shift and this button to start or stop arrangement recording.
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 open the Save window, where you can save your project, tracks, clips and more. See
Operation > General Features > Save Window for more information.
10. Matrix: Press this button to open Clip Matrix Mode, 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.
Tip: While in any of the pad
Press Shift and this button to open Track Edit Mode, where you can edit modes, you can press and
parameters of your drum kit, plugin, MIDI or CV tracks. hold the button for another
12. Mixer: Press this button to open Mixer Mode, where you can control each track's mode to momentarily switch to
volume, pan and send controls, as well as add plugin insert effects. that mode. You will return to
When using a drum track, press Shift and this button to open Pad Mixer View, the previous mode when you
where you can control each pad's volume, pan and send controls, as well as add release the button.
plugin insert effects.
13. Navigate: Press this button to open the Navigate mode, 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 mode.
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 and hold the Edit button and then press this button to open Macros Mode, where you can edit macro control
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.
Use the Edit Buttons in conjunction with the clip launch pads to select, edit, copy or delete pads.
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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.
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 the 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 bus tracks, including Returns and Outputs.
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 Main Output 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.
Tip: Hold Shift and press Mute or
• Solo: Press this button to solo the track. Solo to open the Mixer Config
• Rec Arm: Press this button to record-arm the track. 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.
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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.
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Rear Panel
15 12 13 14 2
16
7 7
3
11 11 8 9 10 9 8 6 5 4 1
1. Power Input: Connect the included power adapter (19 V, 3.42 A, center-positive) to this jack then into an electrical
outlet.
2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
3. Power Switch: Press this button to turn Force’s power on or off.
4. Link: Connect a standard Ethernet cable to this port to use Ableton Link and other compatible devices with Force.
See Operation > General Features > Menu > Preferences > MIDI / 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 Main 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.
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Front Panel
1 2 3 4
1. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using Force.
2. Phones (1/4” / 6.35 mm): Connect standard 1/4” (6.35 mm) stereo headphones to this output.
3. Phones Volume: Turn this knob to adjust the volume of the phones output.
4. Cue Mix: Turn this knob to adjust the balance between the Master and 3/4 signals in your headphones. Master is
the signal sent from the Main outputs. 3/4 is the signal sent from the Outputs 3/4.
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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 Clip 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 Clip 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.
Clip Matrix Mode can also be configured to show the Arrangement row, which is used to trigger linear arrangements
recorded in Force's Arrange Mode. To show or hide the Arrangement row in the matrix, press and hold Shift and press
the Launch/Config button to open the Launch Configuration window, and then check or uncheck Show arrangement in
clip matrix. See Operation > Modes > Arrange Mode for more information about Arrange Mode.
15
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.
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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.
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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.
In the Clip Event Editor, you can view and edit note events and their parameters, such as length,
velocity and transposition, for MIDI tracks and audio samples and their parameters, such as length,
volume and tuning, in Audio tracks.
For MIDI clips such as those in drum, keygroup or plugin tracks, 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.
For Audio clips, 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.
In the Clip Editor, 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.
Additionally, MIDI clips can be edited using List Edit Mode. This mode gives you many of the same
features as the Clip Event Editor, 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.
In Arrange Mode, you can record your clip performance to a linear timeline and use Force's
powerful Arrange Edit commands to shape your song. See Operation > Modes > Arrange Mode
to learn more.
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.
18
Clip Editor
First, let's look at the Clip Editor, where you can view and edit clip information and parameters.
In the Clip Editor, you can view and edit the parameters of the clip container itself, such as length, launch mode, and
quantization. The appearance of the Clip Editor depends on what kind of track the clip belongs to:
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:
19
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.
20
Clip Event Editor
In the Clip Event Editor (formerly Grid Mode, or Region View for audio and Event View for MIDI), 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 the Clip Event Editor.
1. Launch the first clip in Track 1 – Kick Loop.
2. Press Menu and tap Grid.
3. 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.
21
In the Clip Event Editor, you can also use Force's powerful warp tool to adjust the tempo of any sample to match your
project's tempo without changing the pitch.
See Operation > Modes > Clip Event Editor to learn more about this feature.
22
The Clip Event Editor will appear differently when using a clip with MIDI data on a Drum, Keygroup, Plugin, MIDI or CV
track.
Grid View for a drum track Grid View for a keygroup, plugin, MIDI or CV track
Now let's make some edits to a MIDI clip using the Clip Event Editor.
See Operation > Modes > Clip Event Editor to learn more about this feature.
23
List Edit Mode
List Edit Mode is similar to the Clip Event Editor for MIDI tracks, 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 > List Edit Mode to learn more about this feature.
24
Track Edit Mode
In addition to editing MIDI note events using the clip edit modes, you can edit the parameters of a track using Track Edit
Mode. This mode is not available for audio tracks.
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 Clip 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 Global tab of Track Edit Mode, adjust the Level 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.
25
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.
26
When a Plugin track is selected, Track Edit Mode shows the parameters of the loaded plugin.
27
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 Clip 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 Clip 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.
28
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 Save at the top of the screen.
• Press Save to open the Save window. Then, select Save As.
29
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.
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 auto-
preview 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.
30
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 buses. 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.
31
Next, tap the Effects tab. Let's try adding an insert effect to a track:
1. Tap the Inserts button in Track 4 – Hat Loop to open the Inserts
window. Empty insert slots below this button 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.
32
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 main 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
main 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.
33
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.
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.
34
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.
35
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 a number of different modes depending on the
type of track. These include:
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.
See Operation > General Features > Pad Modes > Step Sequencer to learn more about the other Step Sequencer pad
modes.
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.
36
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 hi-
hat sounds to make the clip sound more realistic.
See Operation > General Features > Pad Modes > Step Sequencer and Operation > Modes > Step Sequencer to
learn more about this feature.
37
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
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.
38
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 upper-left
corner of the screen. Unsaved changes made using the number pad
will not be applied. All other changes will be saved.
39
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.
40
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).
41
Clip Event Editor Tools
When viewing a MIDI clip in the Clip Event Editor, these four icons enable you to use different functions in the grid.
42
When viewing an audio clip in the Clip Event Editor, these seven tool icons enable you to use different functions in the
waveform.
43
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.
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.
Check Show arrangement in clip matrix to enable the
Arrangement row at the top of the clip matrix.
44
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.
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.
45
16 Levels Drum Note Mode
In 16 Levels Drum Note Mode, the bottom-left quadrant of clip launch
pads can be used like a traditional 4x4 drum pad layout just like Drum
Note Mode. The other three quadrants, however, can be set to control
a selectable parameter that is fixed at values that increase as the pad
numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum),
regardless of how hard you press them.
To enter 16 Level mode, select a drum track and press Note until
16 Level appears on the screen.
46
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+.
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 six-
string guitar, with notes ascending E-A-D-G-B-E from bottom Note: For Guitar, Bass and Piano types,
to top in the first column of pads, and ascending by one changing the Root Note or Scale will not
semitone with each pad in each row. affect the layout of notes on the pads, but will
change the highlighted root and scale notes
• Bass: The bottom six rows of pads are organized like a six- according to the selection.
string 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: You can also press and hold the Note button while in Note Mode
to quickly select a Type on the display.
47
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 Root 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)
Use the MIDI Input field to restrict the recorded notes to a set scale. See Addenda > Updates in Force 3.0.3 > New
Features > MIDI Input Snap to Scale to learn more.
Check the Pads Generate Aftertouch box to enable aftertouch messages from the clip launch pads.
48
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.
Press and hold the Note button to adjust the Timing Correct value (for Launch & Note Mode
Drum tracks) or Note Mode scale type (for Plugin, MIDI and Keygroup (Melodic Note Mode)
tracks).
Hold Shift and press the Launch or Note button to open its respective
settings.
49
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 the different modes. 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, where you can adjust the following
parameters for the Step Sequencer:
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.
Check the Pads Generate Aftertouch box to enable aftertouch
messages from the clip launch pads (available for melodic tracks
only, not for drum tracks).
In addition to these common settings, some Step Sequencer modes
have additional settings available in this window, described below.
50
Drum Mode
The top 4 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 4 rows will be lit dimly with the color
of the selected drum sample.
Press and hold Clip Select and tap one of the pads containing an event to select a step event.
Press and hold Shift and Clip Select at the same time, and then tap the pads containing events to select multiple
step events.
Hold Shift and press Step Seq while in Drum Step Sequencer Mode to configure its settings. These are the same as
mentioned above.
Melodic Mode
In Melodic Step Sequencer Mode, the bottom 4 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 4 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.
Press and hold Clip Select and tap one of the pads containing an event to select a step event.
Press and hold Shift and Clip Select at the same time, and then tap the pads containing events to select multiple
step events.
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, starting Octave, and Filter Input.
51
Lanes Mode
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, Scale, and Filter Input.
Hold Shift and press Step Seq to open the Configuration window. In addition to the fields described 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, Scale, and Filter Input setting.
52
Mono Steps 8x4 Mode
The top 4 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. Only one note can be added per step.
Press and hold Clip Select and tap one of the pads containing an event to select a step event.
Press and hold Shift and Clip Select at the same time, and then tap the pads containing events to select multiple
step events.
Hold Shift and press Step Seq while in Mono Steps 8x4 Sequencer Mode to configure its settings. These are the same
as mentioned above.
Similar to Melodic Step Sequencer Mode, in Poly Notes 8x4 Mode, the
bottom 4 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 4 rows of pads represent the steps in the clip. The number of
pads available depends on the Step Size setting. Poly Notes 8x4 Mode
differs from Melodic Mode in that only steps for the selected note are
shown in these rows, rather than all steps with any note.
Press a pad to insert a step at that beat for the selected note.
Press and hold Clip Select and tap one of the pads containing an
event to select a step event.
Press and hold Shift and Clip Select at the same time, and then
tap the pads containing events to select multiple step events.
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, starting Octave, and Filter Input.
53
Mono 8x8 Mode
In Mono 8x8 Mode, the entire 8x8 pad grid represents one beat division
in the current clip. Like Mono Lanes mode, however, only one note may
be entered at a time. This mode can also be useful for inputting step
automation.
Press a clip launch pad to insert a step at that beat division for the
respective drum sample or note. If you press another clip launch
pad in the same column, the previous note will be removed.
Press and hold Note to temporarily switch the pad launch matrix to
Note mode. While holding, press a pad to select a new note.
Press and hold Clip Select and tap one of the pads containing an
event to select a step event.
Press and hold Shift and Clip Select at the same time, and then
tap the pads containing events to select multiple step events.
Hold Shift and press Step Seq to open the Configuration window. In
addition to the fields described above:
Use the Note Settings fields to set configure the Root Note, Scale,
and Filter Input setting.
In Poly 8x8 Mode, the entire 8x8 pad grid represents one beat division
in the current clip. Unlike Mono 8x8 mode, however, multiple notes may
be entered at a time.
Press a clip launch pad to insert a step at that beat division for the
respective drum sample or note. If you press another clip launch
pad in the same column, the previous note will be removed.
Press and hold Note to temporarily switch the pad launch matrix to
Note mode. While holding, press a pad to select a new note.
Press and hold Clip Select and tap one of the pads containing an
event to select a step event.
Press and hold Shift and Clip Select at the same time, and then
tap the pads containing events to select multiple step events.
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,
starting Octave, and Filter Input.
54
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 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 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 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.
55
Audio Tracks
Alternatively, press and hold the track select button of an unused track, then tap Audio.
56
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 location of the track, use the Position field. You can select the field and use the data dial or -/+ buttons,
tap the < or > buttons, or double-tap the field and enter a new track position.
To set the monitoring behavior of the track, tap the Monitor field and use data dial or -/+ buttons to scroll through
the three available states:
When set to Off, you will never hear any incoming audio.
When set to In, you will hear incoming audio whether or not the track is record-enabled.
When set to Auto, you will hear incoming audio while the track is record-enabled only.
When set to Merge, the track's input is always monitored, and you will hear playback of recorded events.
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 change the launch behavior of clips in the track, tap the Row Launch field and use data dial or -/+ buttons to
scroll through the options:
When set to Include in row launch, clips from this track will be triggered when launching the entire row using the
scene launch buttons.
When set to Exclude from row launch, clips in this track will not be launched with the rest of the row when triggering
a scene. This is useful when using an a capella track, for example.
57
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.
Alternatively, press and hold the track select button of an unused track, then tap Drum.
58
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 location of the track, use the Position field. You can select the field and use the data dial or -/+ buttons,
tap the < or > buttons, or double-tap the field and enter a new track position.
To edit the MIDI routing for the track, use the MIDI Input Port, MIDI Input Channel, MIDI Send fields and use data
dial or -/+ buttons to scroll through the options.
MIDI Input Port: Select the MIDI port to receive MIDI data from. When set to All Ports, the track will receive all
incoming MIDI Data from any connected port. To view and edit the available ports, go to Preferences > MIDI / Sync.
MIDI Input Channel: Sets the MIDI Channel to receive MIDI data from. Select All to receive from all MIDI channels,
or select 1–16.
MIDI Send: Sets where the MIDI data is sent. You can use this to send the MIDI data from one track to another track.
To set the monitoring behavior of the track, tap the MIDI Monitor field and use data dial or -/+ buttons to scroll
through the four available states:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful
when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded
events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will be
heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
To edit the pad colors, uncheck the Pads follow track color field, then tap the Edit Pad Colors button that appears.
(See Modes > Pad Color Mode to learn more about editing pad colors).
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 change the launch behavior of clips in the track, tap the Row Launch field and use data dial or -/+ buttons to
scroll through the options:
When set to Include in row launch, clips from this track will be triggered when launching the entire row using the
scene launch buttons.
When set to Exclude from row launch, clips in this track will not be launched with the rest of the row when triggering
a scene. This is useful when using an a capella track, for example.
59
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 Samples tab until one of the last three pages are selected. This lets you view the samples assigned to all four
layers of the current pad as well as other parameters for each layer depending on the page.
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.
60
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.
Alternatively, press and hold the track select button of an unused track, then tap Keygroup.
61
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 location of the track, use the Position field. You can select the field and use the data dial or -/+ buttons,
tap the < or > buttons, or double-tap the field and enter a new track position.
To edit the MIDI routing for the track, use the MIDI Input Port, MIDI Input Channel, MIDI Send fields and use data
dial or -/+ buttons to scroll through the options.
MIDI Input Port: Select the MIDI port to receive MIDI data from. When set to All Ports, the track will receive all
incoming MIDI Data from any connected port. To view and edit the available ports, go to Preferences > MIDI / Sync.
MIDI Input Channel: Sets the MIDI Channel to receive MIDI data from. Select All to receive from all MIDI channels,
or select 1–16.
MIDI Send: Sets where the MIDI data is sent. You can use this to send the MIDI data from one track to another track.
To set the monitoring behavior of the track, tap the MIDI Monitor field and use data dial or -/+ buttons to scroll
through the four available states:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful
when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded
events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will be
heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
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 change the launch behavior of clips in the track, tap the Row Launch field and use data dial or -/+ buttons to
scroll through the options:
When set to Include in row launch, clips from this track will be triggered when launching the entire row using the
scene launch buttons.
When set to Exclude from row launch, clips in this track will not be launched with the rest of the row when triggering
a scene.
To transpose the keygroup track, tap the transpose field and use the data dial or -/+ buttons to set the transposition
amount.
62
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 other
parameters for each layer depending on the selected page.
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 multi-
samples (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.
63
Plugin Tracks
A plugin track contains an instance of a plugin through which you can send your track’s MIDI data.
Alternatively, press and hold the track select button of an unused track, then tap Plugin.
64
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 location of the track, use the Position field. You can select the field and use the data dial or -/+ buttons,
tap the < or > buttons, or double-tap the field and enter a new track position.
To edit the MIDI routing for the track, use the MIDI Input Port, MIDI Input Channel, MIDI Send fields and use data
dial or -/+ buttons to scroll through the options.
MIDI Input Port: Select the MIDI port to receive MIDI data from. When set to All Ports, the track will receive all
incoming MIDI Data from any connected port. To view and edit the available ports, go to Preferences > MIDI / Sync.
MIDI Input Channel: Sets the MIDI Channel to receive MIDI data from. Select All to receive from all MIDI channels,
or select 1–16.
MIDI Send: Sets where the MIDI data is sent. You can use this to send the MIDI data from one track to another track.
To set the monitoring behavior of the track, tap the MIDI Monitor field and use data dial or -/+ buttons to scroll
through the four available states:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful
when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded
events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will be
heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
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 change the launch behavior of clips in the track, tap the Row Launch field and use data dial or -/+ buttons to
scroll through the options:
When set to Include in row launch, clips from this track will be triggered when launching the entire row using the
scene launch buttons.
When set to Exclude from row launch, clips in this track will not be launched with the rest of the row when triggering
a scene.
To transpose the plugin track, tap the transpose field and use the data dial or -/+ buttons to set the transposition
amount.
65
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.
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.
66
MIDI Tracks
A MIDI track lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine.
Alternatively, press and hold the track select button of an unused track, then tap MIDI.
67
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 location of the track, use the Position field. You can select the field and use the data dial or -/+ buttons,
tap the < or > buttons, or double-tap the field and enter a new track position.
To edit the MIDI routing for the track, use the MIDI Input Port, MIDI Input Channel, MIDI Send fields and use data
dial or -/+ buttons to scroll through the options.
MIDI Input Port: Select the MIDI port to receive MIDI data from. When set to All Ports, the track will receive all
incoming MIDI Data from any connected port. To view and edit the available ports, go to Preferences > MIDI / Sync.
MIDI Input Channel: Sets the MIDI Channel to receive MIDI data from. Select All to receive from all MIDI channels,
or select 1–16.
MIDI Output Port: Select the MIDI port to send MIDI data to. To view and edit the available ports, go to Preferences
> MIDI / Sync.
MIDI Output Channel: Sets the MIDI Channel to send MIDI data to. Select All to receive from all MIDI channels, or
select 1–16.
MIDI Send: Sets where the MIDI data is sent. You can use this to send the MIDI data from one track to another track.
To set the monitoring behavior of the track, tap the MIDI Monitor field and use data dial or -/+ buttons to scroll
through the four available states:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful
when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from recorded
events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will be
heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
To select a MIDI program change value for the track to send, check the Program Change box to enable program
changes, and then 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. All clips in the track
will send this value when launched. Once enabled, you can also select a MIDI bank change value by checking the
Bank Change box to enable bank changes, and then use the MIDI Bank MSB and MIDI Bank LSB fields to set the
bank change values.
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 change the launch behavior of clips in the track, tap the Row Launch field and use data dial or -/+ buttons to
scroll through the options:
When set to Include in row launch, clips from this track will be triggered when launching the entire row using the
scene launch buttons.
When set to Exclude from row launch, clips in this track will not be launched with the rest of the row when triggering
a scene.
To transpose the MIDI track, tap the transpose field and use the data dial or -/+ buttons to set the transposition
amount.
68
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 Clip 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. Tap CV to instantly create a new track. For more track options, tap the
Advanced button and then select CV as the track type in the window that
appears.
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.
69
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 location of the track, use the Position field. You can select the field and use the data dial or -/+ buttons,
tap the < or > buttons, or double-tap the field and enter a new track position.
To change the CV track operation, use the Type field to select Melodic or Drum. Melodic CV tracks behave the
same as previous Force versions. Drum CV tracks can be used to configure any pad to output on any CV port.
When Melodic type is selected, 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.
When Drum type is selected, tap the Edit Map button to assign each pad to a specific CV port and data type.
To edit the MIDI routing for the track, use the MIDI Input Port, MIDI Input Channel, MIDI Send fields and use
data dial or -/+ buttons to scroll through the options.
MIDI Input Port: Select the MIDI port to receive MIDI data from. When set to All Ports, the track will receive all
incoming MIDI Data from any connected port. To view and edit the available ports, go to Preferences > MIDI /
Sync.
MIDI Input Channel: Sets the MIDI Channel to receive MIDI data from. Select All to receive from all MIDI channels,
or select 1–16.
MIDI Send: Sets where the MIDI data is sent. You can use this to send the MIDI data from one track to another
track.
To set the monitoring behavior of the track, tap the MIDI Monitor field and use data dial or -/+ buttons to scroll
through the four available states:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful
when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from
recorded events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will
be heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
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 change the launch behavior of clips in the track, tap the Row Launch field and use data dial or -/+ buttons to
scroll through the options:
When set to Include in row launch, clips from this track will be triggered when launching the entire row using
the scene launch buttons.
When set to Exclude from row launch, clips in this track will not be launched with the rest of the row when
triggering a scene.
To transpose the CV track, tap the transpose field and use the data dial or -/+ buttons to set the transposition amount.
70
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.
To open a new project, tap New.
To open the Save window, tap Save. See Operation > General Features > Save Window for more information.
To open the Project window, tap Project. See Operation > General Features > Menu > Project for more
information.
To open the Preferences, tap Preferences. See Operation > General Features > Menu > Preferences for more
information.
To rearrange the menu layout, tap and drag a mode icon to the desired location. All other mode icons will shift to
accommodate the new positioning. The five modes on the left side are also available to access in most screens by
swiping the black touch handle to the right from the left edge of the touchscreen. Tap the X button at the top of the
menu next to the Sync setting to reset the Mode Menu layout.
Click a part of the screen above to skip directly to that part of this user guide.
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Project
To open the Project window, tap Project at the top of the Menu. The Project window shows an overview of all samples
and tracks in the current project.
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. Alternatively, tap to select a sample and then tap Delete at the bottom of the screen.
To show or hide files in memory or streaming from disk, tap Memory and Streaming. See Addenda > Updates
in Force 3.1 > New Features > Disk Streaming for more information.
To save the selected sample, tap Save at the bottom of the screen.
To rename the selected sample, tap Rename at the bottom of the screen. Use the keyboard that appears to enter
a name and then tap Do It to confirm.
To open Sample Edit mode to edit the selected sample, tap Edit at the bottom of the screen.
To preview the selected sample, tap Audition at the bottom of the screen.
72
Preferences
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 update your Force, tap Update.
Select Online Update to automatically download and install the latest update (you must enable a network connection
for this to work).
Select USB Drive Update to update from a file on a connected USB drive.
Select Switch to Update Mode to connect Force to your computer for updating. 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.
To view legal information relevant to Force, press and hold Shift and tap Legal Info. For complete legal information,
visit akaipro.com/product-legal.
To view additional version information, press and hold Shift and tap Version Info.
Activate Plugins
The settings on this screen allow you to sign in to your inMusic Profile to activate purchased plugin licenses. See Addenda
> Updates in Force 3.2 > New Features > MPC Instrument Collection for more information.
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. Tap Show to display the password as you type
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.
73
Ethernet
The settings on this screen will determine how your Force hardware connects to a wired network using an Ethernet cable
connected to the Link port. This allows you to maintain a tighter network connection when using Ableton Link or the Akai
Network Driver.
To activate or deactivate Ethernet connectivity on your Force hardware, tap the Enabled box.
To determine how your Force hardware connects to the network, use the Address Method dropdown. Select
Automatic to have your Force hardware 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.
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.
Audio Device
The settings on this screen allow you to set up an external USB and Linux class-compliant audio interface for use with
your Force hardware. Audio devices must also be set to 44.1 kHz sample rate and 128 sample buffer size.
Note: If you are unsure of your audio interface’s compatibility, check with the original equipment manufacturer for more
information.
Audio Device: This determines whether you are using the Internal sound device, or a selected class-compliant audio
interface connected to your Force hardware.
32 Inputs/Outputs: Check this box to enable use of up to 32 simultaneous inputs and outputs.
Note: Increasing the number of simultaneous inputs and outputs will also increase CPU overhead.
Audio/Export
The settings on this screen determine the audio recording and exporting settings.
Enable Disk Streaming: This determines whether disk streaming is enabled or disabled. See Addenda > Updates
in Force 3.1 > New Features > Disk Streaming to learn more.
Recording Bit Depth: This determines the bit depth of recorded audio.
Bounce/Extract Bit Depth: This determines the bit depth of audio bounced or extracted.
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.
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MIDI / Sync
The settings on this screen determine how your Force hardware uses and synchronizes with connected USB and MIDI
devices.
Input Ports: This displays all available MIDI input ports in a list. Double-tap the keyboard icon to rename a port to a
custom name. When Global is enabled, MIDI data from this port will always go to the current track. When Control is
enabled, MIDI data from this port will be sent to MIDI Learn. When Track is enabled, this MIDI port will appear in the
list of available MIDI Inputs. Click the reset arrow to reset the MDI Port settings.
Output Ports: This displays all available MIDI output ports in a list. Double-tap the keyboard icon to rename a port
to a custom name. When Sync is enabled, the MIDI output port will send MIDI sync messages according to the type
set under Sync Send, below. When Track is enabled, this MIDI port will appear in the list of available track MIDI
outputs. Click the reset arrow to reset the MDI Port settings.
Enable MIDI Ports When Discovered: This determines whether the Track option is automatically enabled when any
MIDI device is plugged in, enabling the ports to be selected as an available MIDI input or output immediately.
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).
Important: Audio recording is disabled when receiving MIDI Clock sync. Use MIDI Time Code to record audio while
receiving MIDI sync.
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.
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.
Program Change: This determines whether incoming MIDI Program Change messages will change the Sequence,
Track, or be ignored (Off).
Hardware
The settings on this screen determine the behavior of your Force hardware’s pads and touchscreen.
Pad Brightness: This determines the overall brightness of Force's clip matrix pads.
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
MIDI
to use more force to generate a high-velocity note. At higher values, it is easier to generate Velocity
high-velocity notes, even if you do not use much force while pressing a pad.
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
Applied
adjusting the Pad Threshold and Pad Sensitivity parameters (above).
Force
Screen Dimming: This determines how much time must pass before your Force hardware
automatically dims its screen.
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Screen Brightness: This determines the brightness of the screen during normal operation: normal brightness (Day)
or dimmed (Night).
Tap Tempo: This determines how many times you must 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.
Global Pitch Bend: Enable this option to override the pitch bend settings of all programs, so that those with pitch bend
disabled or set to different ranges will only use the Global Range instead (set here using Range Up and Range Down).
When disabled, all programs may use their individual pitch bend settings.
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.
Sequencer
The settings on this screen determine how sequencing works in the Event View and in the Step Sequencer.
Rec Arm: This determines the behavior of the Record Arm buttons. In Single mode, selecting a different track will
automatically arm that track and disarm all other tracks. In Multi mode, you can tap any track's record button to add it
to the group of armed tracks.
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.
For example, if you record a note starting on the second bar of a 4-bar loop and Bar 1 2 3 4 5 6 7 8
hold it for 5 bars, the note will end: at bar 7 (As Played), at bar 6 (To Clip Length), As played
or bar 4 (To Clip End). See image for details. To Clip Length
Playback Note Length: This determines if/how events are cropped if they exceed To Clip End
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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 Arrangement Bars: This is the default number of bars in a new project arrangement.
Default Arrangement Loop Enabled: This determines whether loop is activated when a new project is created or not.
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.
Default Audio Monitor: This determines the default audio monitoring mode: Off, In, Auto, or Merge.
Default MIDI Monitor: This determines the default MIDI monitoring mode: Off, In, Auto, or Merge.
Project Load/Save
The settings on this screen determine if (and how) projects are automatically saved.
Temporary File Location: This determines the file location where files are streamed from disk for unsaved projects.
For best results, we recommend using a solid-state drive (SSD) connected to Force’s internal SATA port.
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.
General
The settings on this screen determine how other features work in the hardware and operating system.
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.
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).
Show Mode Shortcut Panel: This setting determines whether the slide-out Mode Shortcut panel is visible (On) or not
(Off). See Addenda > Updates in Force 3.2 > New Features > Menu Editing and Shortcut Panel for more information.
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Splice
Use this screen to connect a Splice account and download samples to your device via a network.
To access Splice:
1. First, make sure your Force hardware is connected to a network via Wi-Fi or Ethernet. See Preferences > Wi-Fi
or Preferences > Ethernet to learn how to connect to a network. You will also need access to a web browser.
2. Navigate to the Splice tab in the Preferences page.
3. Tap the Get Login Code button. (If you are not connected to a network, you will be prompted to do so before the
Get Login Code button appears.)
4. Follow the on-screen instructions to pair your Force to your Splice account via a web browser. It may take your
Force a few moments to successfully link.
5. A message will appear on screen when the link has been successfully established. Tap OK to continue and return
to the Splice Preferences page.
6. Once the process is complete and your Force has been paired to your Splice account, use the Sync Files button
to download your samples via Wi-Fi to a drive of your choice.
By default, files will be stored on the Internal drive. You can change the selected drive by tapping the Change
button under Sync Files To Drive.
Note: The original sample files from Splice are stored in the By Pack folder on your selected drive. Other folders such
as By Instrument contain internal links to help sort these samples by various tags. If the By Pack folder on your drive
is deleted, the files in the remaining folders will become unusable. To fully remove all files, the entire Splice directory
should be deleted.
IMPORTANT: Drives formatted using the FAT32 system do not support these internal links. For these drives, samples
will only be sorted in the By Pack folder. We recommend using an exFAT file system on external drives used with
Force, as it is the most robust one supported by both Windows and macOS.
To view the number of samples available to download from your account, tap the Check For Update button.
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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 the MIDI / Sync tab of your Preferences. See
Preferences > MIDI / 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 > Ethernet to learn how to connect to a network.
Undo History
To open the Undo History window, tap the clock icon at the top of the screen. In the Undo History window, you can
view a list of recent actions along with a detail about the action if applicable.
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Tuner
Tap the tuning fork at the top of the screen to open the built-in tuner.
The tuner allows you to easily tune any connected audio sources such
as guitars, basses, synth modules, and other pitched instruments.
To select the input for the instrument you would like to tune,
use the Input Channel field.
To set the base tuning frequency, use the Frequency of A field.
To tune your instrument, play a note and use the indicator to
adjust your instrument to the correct pitch.
To close the tuner screen, tap Close, the X in the upper-right
corner, or anywhere outside the window.
MIDI Monitor
Tap the I/O icons to open Force's MIDI monitor. You can use this to
view incoming and outgoing MIDI data from devices connected to
Force.
To view incoming MIDI data, tap the In button.
To view outgoing MIDI data, tap the Out button.
To clear the list of MIDI data, tap the Clear button.
To close the MIDI Monitor, tap the Close button or the X.
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.
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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Save Window
The Save Window lets you save your project, tracks and clips in a variety of ways.
To open the Save window, press the Save button. Alternatively, press Menu to open the Menu and then tap Save
at the top of the screen.
To save a project, tap Project or Project 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 Project will automatically overwrite the most
recently saved version.
To open a new project, tap New Project.
To save the current track, tap Track.
To save the current track inserts, tap Track FX Rack.
To save the current drum kit, tap Drum Kit when a Drum track is selected.
To save the current plugin program, tap Plugin Program when a Program track is selected.
To save the current keygroup, tap Keygroup when a Keygroup track is selected.
To save the current MIDI program, tap MIDI Program when a MIDI track is selected.
To save the current CV program, tap CV Program when a MIDI track is selected.
To save the currently selected clip as audio, tap Clip as Audio when a clip is selected.
Use the Base File Name field to name the resulting export based on the Clip name or Track name.
Check the Include Track Volume/Pan Settings box to include these settings in the export.
Check the Bypass Track Effects Plugins box to not include track effects plugins in the export.
Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio files.
Use the Bit Depth field to set the bit depth to 8, 16 or 24.
Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz. In most cases, we recommend
selecting 44.1 kHz.
To save the currently selected clip as MIDI, tap Clip as MIDI when a MIDI clip is selected.
Use the Export MIDI As field to set the export the clip(s) as MIDI files or MPC Pattern files.
Use the Base File Name field to name the resulting export based on the Clip name or Track name.
To save all current clips in the project, tap All Clips.
Use the same settings for Clip as Audio or Clip as MIDI depending on how you would like to save the clips.
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To save the project as an audio mixdown, tap Audio Mixdown.
Use the Start Bar and End Bar fields under Audio Length to set the time range that you want to mix down. You
can add a number of seconds to the end of the mixdown to capture any ringing notes or effects (such as a reverb
tail) by adjusting the Audio Tail field.
Use the fields under Render Source and Render Options to set the parameters for the audio mixdown. Check
the Separate Tracks box to render each track of the arrangement as stems.
Use the fields at the bottom of the screen to configure the audio mixdown settings. You can set the File Format,
Bit Depth, and Sample Rate.
To save the project as an Ableton Live set, tap Ableton Live Set.
Use the Export MIDI As settings to choose how MIDI tracks and clips are exported, either as Audio files or MIDI
files. When using Plugin, Drum or Keygroup tracks, you can render clips as Audio to preserve the sound of the
instruments, or render clips as MIDI data.
Check the Export Arrange as Clips box to save the arrangement as a clip row.
Check the Include Program Volume/Pan Settings box to include these settings in the export. When disabled,
the volume and pan settings will be set to 0 dB and center (C), respectively.
Check the Bypass Track Effects Plugins box to deactivate any third-party effect plugins used with the track for
the export. When disabled, those effects will be activated.
Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio files.
Use the Bit Depth field to set the bit depth to 8, 16 or 24.
Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz.
After selecting the save type, use the following to select a save location:
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.
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Pull-Down Menu
The pull-down can be accessed from any Force mode, giving you quick and easy access to a variety of commonly used
tools and information.
To open the pull-down menu, tap and drag from the middle-top of the screen. The menu can be set to two sizes
depending on how far down you drag your finger.
To close the menu, simply swipe it back upwards to the top of the screen.
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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 then press and hold the track 6 Track Assign button.
In Arrange Mode, Clip Edit Mode, List Edit Mode, or Step Sequencer Mode, tap TC at the bottom of the
screen.
To enable or disable global timing correct, tap the Global Timing Correct button so it is on. Alternatively, press
and hold Shift and press the track 6 Track Assign button.
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 entire note event or audio track region will be nudged forward or backward so the start point aligns
with the closest time division marker in the grid. 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.
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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 enable or disable the metronome, press and hold Shift and press the track 5 Track Assign button.
To open the metronome settings, press and hold Shift and then press and hold 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 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.
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 global automation setting, or individual tracks' automation settings, to be “written,” “read,” or disabled
entirely by using the automation buttons in the pull-down project menu and the channel strip in the Mixer.
Global
In the pull-down project menu, you can enable When you tap this button to change its state, it will change the automation
state for all tracks in the project.
Tap the global automation button to cycle through its two states:
When set to Read (R), automation data will be read but not recorded. (Think of this as a protective
feature to prevent accidental changes to your automation while recording.)
When set to Write (W), automation can be recorded and will overwrite any existing automation.
(Make sure not to touch the XY pad accidentally while you are recording.)
Press and hold Shift and tap the global automation button to disable global automation. When off,
automation data will be ignored. Tap the global automation button again to enable global automation.
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.
Tracks
In addition to global automation, you can set automation for individual tracks by using the track automation button in the
channel strip in the Mixer.
Note: Remember that tapping the global automation button will change the automation state for all tracks in the project;
if they were originally different, all of them will then match the global automation state.
Tap the track automation button to cycle through its two states:
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 Q-Link knobs assigned to
automatable parameters, make sure not to touch any accidentally while you are recording.)
Press and hold Shift and tap the track automation button to disable track automation. 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.
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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.
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.
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Effects
You can apply various effects to the pads, keygroups, tracks, main outputs and submixes, 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 main output. See Send/Return Effects to learn more about this.
Finally, you can apply up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2 or Outputs
3/4) and submix. See Insert Effects > Main Outputs or Submixes to learn more about this.
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To view, load, edit, or clear effects, tap the Inserts button. This
usually appears in a channel strip (next to a level slider and pan knob).
To view and edit an effect, tap the effect name below the Inserts
button.
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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).
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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 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.
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Main Outputs
You can load up to four insert effects to each main output (a stereo pair of channels: Outputs 1/2 or Outputs 3/4). You
can do this in the Mixer.
Submixes
You can load up to four insert effects to each Submix 1–8. You can do this in the Mixer.
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Send/Return Effects
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.
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Pads
You can set the send levels for individual pads in Track Edit Mode or the Pad Mixer.
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Keygroups
You can set the send levels for keygroups in Track Edit Mode or the Pad Mixer.
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Audio and Plugin Tracks
You can set the send levels for audio and plugin tracks in the Mixer only.
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Plugins
Force includes a number of 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.
Oscillator 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 10.0 ms – 2.00 s
to the next note played.
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 Gain 100–0%, Off, Frequency
section. 0–100%
Adjust Gain to control the amount of boost.
Adjust Frequency to control the width of the
boosted frequency.
Filter LP Cutoff Cutoff frequency for the low-pass filter. 20.0 Hz – 20.0 kHz
Reso Resonance of the filter. 0–100%
Envelope 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 0–100%
volume.
Filter Decay Length of time for the filter to reset after being 0–100%
released.
Pitch Mod Amount of pitch modulation applied to the 0–100%
envelope.
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Velocity / Global / Chorus
Use this tab to adjust the Velocity Control settings, and Global volume. You can also apply and adjust the settings for the
built-in Chorus effect.
Velocity Amp Control The amount of effect velocity has on amplitude 0–100%
control.
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.
Chorus Rate Modulation speed of the chorus effect. 0.40 Hz – 3.20 kHz
Depth Modulation depth of the chorus effect. 0–100%
Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Sync Set to Free to adjust Time by milliseconds, or set to Sync to match the Free, Sync
Delay Time to the Global Tempo.
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 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 L 50:100, R 50:100
useful for creating offset, panned delays.
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%
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Compressor / Hype
Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects.
Compressor 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 0.0 – +30.0 dB
signal.
Mix Wet/dry mix of the compressor effect. 0–100%
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 10 ms – 4.00 s
original level.
On/Off Enables or disables the effect. Off, On
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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.
Keytrack Ties the pickup parameters to the pitch being played. 0–100%
At higher values, the Distance is increased as the pitch is
increased.
Envelope 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 100 ms – 20.0 s
volume.
Release Length of time for the note to become silent after being 100 ms – 5.0 s
released.
Peak Length Length of time full volume is held before decaying. 3 – 50 ms
Keytrack Ties the envelope parameters to the pitch being played. 0–100%
At higher values, the envelope time is decreased as the
pitch is increased.
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Bell / Noise
Use this tab to apply and adjust the settings for the Bell and Noise sounds.
Bell Tune Pitch of the bell sound, in semitones above the root 0– 60 semitones
pitch.
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 -100% – 0% – +100%
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.
Noise Freq Center frequency of the noise effect 200 Hz – 16.0 kHz
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
Setup
Use this tab to adjust general settings for the plugin.
Velo Attack Ties the incoming velocity to the attack envelope. 0–100%
At higher values, low velocities feature longer attack times.
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Trem / Tube / Chorus
Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Over Drive), and Chorus effects.
Sync Sync the Tremolo Rate to the Global Tempo or let it Free, Sync
run Free.
Mode Select Pan for stereo field modulation, or Tremolo for Pan, Tremolo
amplitude modulation.
Depth Amount of modulation applied. 0–100%
Delay
Use this tab to apply and adjust the settings for the built-in Delay effect.
Time Amount of time between the dry signal and the delayed signal.
Sync Sync the Delay Time to the Global Tempo or set to Free to adjust Time Free, Sync
by milliseconds.
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 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 L 50:100, R 50:100
useful for creating offset, panned delays.
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%
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Spring Reverb
Use this tab to apply and adjust the settings for the built-in Spring Reverb effect.
Pre-Delay Length of time between dry signal and reverberated signal. 0 ms – 250 ms
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
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Hype
Macro
Use this tab to adjust the macro settings for the plugin. You can access
the Effect on/off switches in all tabs.
Macros These six macro controls are unique to each preset. Varies
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Filter / Amp
Use this tab to adjust the filter and amplitude envelope settings.
Filter Envelope Attack 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%
Amp Envelope 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 0–100%
amplitude 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.
Sync Enables or disables LFO sync, and sets how it is Off, 1st Note, Each Note,
synced when enabled. Tempo+Note,
Tempo+Beat
Depth Amount of LFO modulation applied. 0–100%
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Effects 2
Use this tab to adjust the settings for the Delay, Reverb, Compressor, Pumper and Limiter effects.
Delay Time Amount of time between the dry signal and the 1/32 – 8/4
delayed signal.
Feedback Amount of signal fed back into the delay line. 0–100%
Freq Adjusts the filter cutoff frequency of the delayed 0–100%
signal.
Mix Wet/dry amount of the delay effect. 0–100%
L/R Reduces the delay Time in either the Left or Right L 50:100 – R 100:50
stereo field. This is useful for creating offset, panned
delays.
Reverb Pre-Delay Length of time between dry signal and reverberated 0.0 – 250.0 ms
signal.
Time Length of reverb tail. 0.0 – 30.0 s
Mix Wet/dry amount of the reverb effect. 0–100%
Compressor Threshold Signal level after which the compressor will be -30.0 – +10.0 dB
applied.
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 -20.0 – +20.0 dB
signal.
Limiter Drive Amount of drive added after the limiter effect. 0.0 – 32.0 dB
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Setup
Use this tab to adjust the plugin setup parameters.
Glide Time Amount of time to slide from the pitch of one note to 0 ms – 32 s
the next note played.
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
Volume Overall level of the plugin. -inf – +6.0 dB
MIDI Control
Mod Wheel Destination Send Mod Wheel data to one of the following control Pitch, Cutoff, Reso,
destinations. Amp, Pan
Aftertouch Destination Send Aftertouch data to one of the following control Pitch, Cutoff, Reso,
destinations. Amp, Pan
Depth Amount of modulation applied. 0–100%
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.
Oscillator 1 Octave Coarse tuning of the oscillator by octaves. Wide, 32', 16', 8', 4', 2'
The Wide setting provides additional Fine tuning
controls.
Fine Fine tuning of the oscillator by semitones.
Oscillator 2 Octave Coarse tuning of the oscillator by octaves, all the LFO, 32', 16', 8', 4', 2'
way down to LFO speed.
Fine Fine tuning of the oscillator.
Sub Oscillator Shape Waveshape of the sub oscillator (continuously Triangle, Saw, Square, Pulse
variable).
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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.
Osc 2 EQ Gain Amount of gain applied to the selected Frequency. -48 – 0 – +48 dB
Keytrack Ties the LP Filter Cutoff to the pitch being played. 0–100%
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Envelope
Use this tab to adjust the various envelope settings.
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
Amp Envelope 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 0–100%
of the maximum level.
Release Length of time for the note to dissipate when released. 1.00 ms – 100 s
Slope Rel Amount of Envelope subtracted from or added to the -100 – 0 – +100%
Destination when a note is released.
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
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LFO
Use this tab to adjust the settings for the low-frequency oscillators.
LFO 1/LFO 2 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.
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.
Modulation 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%
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Setup
Use this tab to adjust plugin setup parameters.
Controller Destinations
Velocity 1 Send Velocity data to one of the following control Amp, Cutoff, Osc1
destinations. Shape, Osc2 Shape,
Osc1&2 Shape
Depth Amount of modulation applied. 0–100%
Velocity 2 Send Velocity data to one of the following control Amp, Cutoff, Osc1
destinations. Shape, Osc2 Shape,
Osc1&2 Shape
Depth Amount of modulation applied. 0–100%
Modwheel Send Modwheel data to one of the following control Amp, Cutoff, Osc1
destinations. Shape, Osc2 Shape,
Osc1&2 Shape
Depth Amount of modulation applied. -100 – 0 – 100%
Aftertouch Send Aftertouch data to one of the following control LFO 1 Depth, Cutoff,
destinations. Osc1 Shape, Osc2
Shape, Osc1&2 Shape
Depth Amount of modulation applied. -100 – 0 – 100%
Setup Polyphony Number of allowable voices, and how voices are Legato, Retrigger, 2, 3, 4
triggered.
Bend Range Number of semitones up or down controlled by MIDI 2–12 (semitones)
pitch bend messages
Glide Time Amount of time to slide from the pitch of one note to 1.00 ms – 100 s
the next note played.
Glide All Enables or disables pitch gliding for all triggered Off, On
notes, not just legato notes.
Detune Amount of detuning applied. This setting is only 0–100%
applied when Doubling is enabled.
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Chorus
Use this tab to apply and adjust the settings for the built-in Chorus effect.
Delay Length of time the wet signal is offset from the dry signal. 0.00 – 24.00 ms
LFO Wave Waveshape of the low-frequency oscillator for the chorus effect. Tri, Sine
Width Stereo width of the chorus effect. Higher values give wider stereo 0–100%
separation.
Lo Cut Center frequency for the chorus low-cut filter. 20.0 Hz – 1.0 kHz
Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Time Length of time between the dry signal and the delayed signal.
Sync Enable to sync the Delay Time to the Global Tempo, disable to set the Off, On
Time in milliseconds.
Feedback Amount of delay signal fed back into the delay line. 0–100%
Damp Center frequency of where the delayed signal will be dampened. 1.00 – 20.0 kHz
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 L 100:50, R 50:100
useful for creating offset, panned delays.
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%
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Reverb / Compressor / Hype
Use this tab to apply and adjust the settings for the built-in Reverb, Compressor and Hype effects.
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%
Compressor Threshold Signal level after which the compressor will be 0.0 – -60. dB
applied.
Output Amount of additional output gain for the compressed 0.0 – +30.0 dB
signal.
Mix Wet/dry mix of the compressor effect. 0–100%
Ratio Amount of compression applied. 1.0:1 – 100.0:1
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DrumSynth
Drum Sound
Use this tab to adjust the basic settings for the drum sound. You can also use the knobs on this tab to quickly adjust
up to eight parameters specifically chosen for each sound.
120
Trans/Dist
Use this tab to adjust the settings for the Transient and Distortion effects.
EQ/Comp
Use this tab to adjust the settings for the EQ and Compressor effects.
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You can also use the DrumSynth:Multi plugin to access all
DrumSynth sounds from one plugin, which includes additional
dedicated effects and mixing controls.
Note: You can only have one DrumSynth:Multi plugin active
per project.
Send FX
Use this tab to adjust the settings for the Delay, Diffuser and Reverb effects.
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Mixer / FX / Sends
Use this tab to mix the individual drum sounds as well as control their effects. The Mixer / FX / Sends tab contains
three different views that can be accessed by tapping the tab at the bottom of the display.
Use the Mixer view to adjust the volume, panning, muting and soloing for each drum.
Tap the 1–8 icons to mute or unmute the selected drum.
Tap the S icon to solo the selected drum.
Tap and drag the pan slider to adjust the drum panning. Alternatively, tap the slider and use the encoder, or use
the appropriate knob in Screen mode.
Tap and drag the volume slider to adjust the drum volume. Alternatively, tap the slider and use the encoder, or
use the appropriate knob in Screen mode.
Use the FX view to enable or disable the Transient, Distortion, EQ and Compressor effects for each drum sound.
Tap the FX box to enable or disable the selected FX on the selected drum.
Use the Sends view to adjust the send levels for the Delay, Diffuser and Reverb Send FX.
Tap and drag the Send knob to adjust the send level for the selected effect on the selected drum. Alternatively,
tap the knob and use the encoder, or use the appropriate knob in Screen mode.
Mellotron
See Addenda > Updates in Force 3.1 > New Features > AIR Mellotron, AIR Solina, WayOutWare Odyssey for more
information on this plugin.
Solina
See Addenda > Updates in Force 3.1 > New Features > AIR Mellotron, AIR Solina, WayOutWare Odyssey for more
information on this plugin.
WayOutWare Odyssey
See Addenda > Updates in Force 3.1 > New Features > AIR Mellotron, AIR Solina, WayOutWare Odyssey for more
information on this plugin.
Force now supports the MPC Instrument Collection of additional instrument plugins. See Addenda > Updates in Force
3.2 > New Features > MPC Instrument Collection for more information on these plugins.
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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.
• Force can be used as an audio interface.
Note: Full Computer Mode support will be available in a forthcoming firmware update.
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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.
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Clip Matrix Mode
Clip Matrix Mode gives you an overview of your tracks and clips.
To create a new clip, double-tap an empty clip slot. Alternatively, tap and hold on an empty clip slot, and then tap Create.
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 insert a new scene or clear a scene, hold Edit and press a Scene
Launch button to open the Edit Row window.
Tap Insert to insert one new scene row.
Tap Insert 8 to insert 8 new scene rows.
Tap Insert & Capture to capture any clips currently playing in other
scenes and add it to the new scene.
Tap Clear to clear the currently selected scene.
Tap Snapshot to take a snapshot of all automation parameters in each row using the Row Launch buttons. Once a
snapshot has been captured to a row, the saved state of all automation settings will be relaunched with the event
data on that row. To clear a snapshot from a row, tap Clear Snapshot from the Edit Row window.
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.
126
To show or hide the Arrangement row in the matrix, press and hold Shift and press the Launch/Config button to open
the Launch Configuration window, and then check or uncheck the Show arrangement in clip matrix box.
You can also tap and hold your finger on a clip slot to quickly access some of the functions above.
For clip slots with clips in them, you can select Copy, Delete, Edit Clip (brings you to Clip View in Clip Edit Mode),
Edit Event/Edit Region (brings you to Event View or Region View in Clip Edit Mode) and Settings (opens the Clip
Settings Window).
For empty clip slots, you can Create a new clip or Paste a copied clip.
To view the Returns and Output tracks, press Master. You can create and launch clips for automation on these tracks
using the same methods as above. See Addenda > Updates in Force 3.1 > New Features > Bus Automation for more
information.
The clips in Clip Matrix Mode will change appearance based on their current status:
Prepared to play
Overdubbing
(flashing)
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 Clip Matrix Mode.
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To open the Record Configuration window, press and hold Record,
and then tap Settings.
Check the Write automation when recording box to capture
automation while recording.
Use the Record Launch 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.
Use the Clip Record To field to set the behavior when recording is
completed, entering either Overdub or Play.
Use the Record Arm field to set the arming behavior of the Rec
Arm button. When set to Single, Force automatically record arms
the current track when changing tracks and disarms any others.
When set to Multi, Force can record arm multiple tracks at the
same time.
When using Single Record Arm, it is still possible to record arm
multiple tracks. To do so, press and hold the Select button and
then press the Track Assign buttons for the tracks you want to
arm.
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.
Tap Close, the X or outside the window to close the Record
Configuration window and return to Clip Matrix Mode.
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Navigate Mode
Navigate Mode lets you quickly select which 8x8 grouping of clips is currently in focus for the clip launch pads
and Clip Matrix Mode.
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Mixer
In the Mixer, you can set levels, stereo panning, and other settings for your tracks, submixes, returns and main
outputs.
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.
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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 main output. 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.
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 main output. 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 main output. 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.
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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. Press the Master button to view the Return channels and then select the Effects tab, described below.
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Effects
The Effects tab lets you view and edit insert effects 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.
Tap the Inserts button to open the Inserts window.
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.
Tap the A or B icons to assign the track to the crossfader A or B grouping.
Press the Master button while viewing the Effects tab to view the Return and Output Insert effects slots.
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I/O
The I/O tab lets you view and edit audio and MIDI 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.
Tap the Monitor button to set the monitoring behavior.
For Audio tracks:
Off: The track's audio input is not monitored.
In: The track's audio input is monitored whether the track is record-enabled or not.
Auto: The track's audio input is monitored while the track is record-enabled only.
For MIDI tracks:
Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is
useful when using keyboards with Local Control active.
In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from
recorded events will not be heard.
Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events
will be heard.
Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
Use the Input fields to select the input routing for the track.
For Audio tracks:
Use the Audio In field to configure the input source of the external audio signal, which you can set to a pair
of inputs (Input 1,2) or a single input (Input 1, Input 2).
For MIDI tracks:
Use the MIDI Input and Channel fields to configure the MIDI input settings.
Use the Send To field to send the track's MIDI output to another track.
Use the Output field to set the output routing for the track.
For Audio tracks:
Use the Audio Out field to configure where the track is routed, which you can set to a submix (Sub 1–8), a
pair of outputs (Out 1,2–Out 3,4), or a single output (Out 1–4).
For MIDI tracks:
Use the MIDI Output and Channel fields to configure the MIDI output settings.
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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.
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.
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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.
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Sends
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Effects
I/O
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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.
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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).
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 adjust audition settings, tap the Audition icon at the bottom of the screen. In the screen that appears:
Tap Auto to enable or disable automatic audition when a sound is selected.
Tap and drag the level slider up or down to set the audition volume level.
Tap Sync to enable or disable auditioning samples at the beginning of the next bar of the clip when playback is
active.
Tap Warp to enable or disable samples with an embedded tempo to be warped to the project tempo. Samples
with no embedded tempo or externally-embedded tempo will not be affected by this setting.
Tap the Audition 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 bars icon.
To show kit files only, tap the four-squares icon.
To show plugin preset files only, tap the plug icon.
To show sample files only, tap the waveform icon.
To show all file types, tap the three-pages icon.
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To open the Browser Options window, tap the gear icon:
Check the Show file size box to display file size in the file list.
Check the Show modified date box to show the last date the file
was modified in the file list.
Check the Show created date to show the date the file was
created in the file list.
Check the Search includes subfolders box to enable recursive
searching. When enabled, all files, including those in subfolders, will
be appear in the search.
Check the Hide system folders box to disable system folder types
from appearing in the file list.
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.
Splice: Tap this button to enter the Splice folder on the selected
drive, where you can view samples that have been downloaded from
a linked Splice account. The right-side of the browser will display
your Splice samples organized into a series of top-level folders,
allowing you to easily browse your sample library by BPM,
Instrument, Key, Pack or Tag. The All Your Samples folder will
show a list of all samples you have downloaded.
Note: The original sample files from Splice are stored in the By Pack folder on your selected drive. Other folders such
as By Instrument contain internal links to help sort these samples by various tags. If the By Pack folder on your drive
is deleted, the files in the remaining folders will become unusable. To fully remove all files, the entire Splice directory
should be deleted.
IMPORTANT: Drives formatted using the FAT32 system do not support these internal links. For these drives, samples
will only be sorted in the By Pack folder. We recommend using an exFAT file system on external drives used with
Force, as it is the most robust one supported by both Windows and macOS.
See Operation > General Features > Menu > Preferences > Splice for more information on how to connect to your
Splice account.
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Arrange Mode
Arrange Mode is a fully-featured linear sequencer where you can record a clip performance or live input (MIDI
or audio) into a linear timeline to create an arrangement of a song. You can use the powerful Arrange Edit
commands to edit and arrange your song and then mix it down to a stereo audio file, or stem it as separate
tracks.
To enter Arrange Mode, press Menu and then tap Arrange. The event editor's Arrange, Grid, Clip and List views are
displayed as tabs in the top left of the screen to make it easy to jump between them.
The toolbar at the top of Arrange Mode lets you switch between the different edit modes as well as showing project and
timing information.
Use the Arrange, Grid, Clip and List icons to switch between the different Force modes.
Tap the automation icon to toggle between Read and Write. To disable or enable global automation entirely, press
and hold Shift and tap this icon.
Use the BPM field to adjust the tempo of the project.
Use the Bars field to set the length of the arrangement.
The time counter at the top of the screen indicates the current playhead position. Double-tap this field to open the
Locate Popup.
Tap the pencil icon to open the Arrange Edit window.
Tap the gear icon to open the Grid Settings.
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The project's tracks are displayed in Arrange Mode on a linear timeline. Each track header will show Record Arm, Track
Automation and Crossfader Assign states. Note that this requires the vertical zoom to be adjusted so there is enough
space to show all components. Use the pinch and expand gestures to change the zoom level of the arrangement.
To open the Timing Correct window, tap TC at the bottom of the screen. Alternatively, tap the timing correct value
shown above the track headers. See General Features > Timing Correct (TC) to learn about this.
To view Return and Output bus tracks, tap Buses or press the Master button. You can then record, edit and view
automation data on these tracks in your Arrangement. See Addenda > Updates in Force 3.1 > New Features > Bus
Automation for more information.
To enable or disable MIDI record erasing in Arrange Mode, tap the MIDI Rec Erase button at the bottom of the screen.
When enabled, the new recording will replace existing MIDI data in the arrangement. When disabled, recording MIDI will
overdub on existing MIDI data in the track arrangement.
To enable or disable loop, tap Loop at the bottom of the screen.
To return playback of all tracks to the recorded arrangement, tap the Back to Arrange button.
The Arrangement timeline also features six user-controllable Locate markers. Press and hold Shift to show the six Locator
buttons at the bottom of the screen.
To add a locator at the playhead position, tap one of the six Locator buttons. You can also use the Locate Popup
to edit these markers.
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To replace a section of the arrangement with a new clip performance:
1. Tap the Loop button at the bottom of the screen to activate loop.
2. Set the Loop Start and Loop End points by tapping and dragging the beginning and end of the loop region in the
timeline. Tapping and dragging in the middle of the loop region moves both the Loop Start and Loop End points
at the same time.
3. Enable arrangement recording by following the directions above.
4. Trigger a clip or scene to begin recording. The recording will begin at the Loop Start point and finishes at the Loop
End point, making it easy to replace a section of the arrangement.
To move the playhead position, tap the Playhead Position field in the toolbar to select it, and then use the data dial or
-/+ buttons to adjust the value. Alternatively, you can set the playhead position by tapping in the lower-half of the timeline.
For each track in Force, you can play a clip or play the linear arrangement, but never both at the same time. When you
trigger a clip, the arrangement on that track will stop playing; conversely, if you are triggering clips and then play the
arrangement, the clips will stop.
In Arrange Mode, a track will show the Back to Track icon (a square with a play symbol shown on the right side of the
track lane) when either there is a clip playing or the Stop All button has been pressed.
To return playback of a track to its linear arrangement, simply tap the Back to Track icon.
To return all tracks to the linear arrangement, tap the Back to Arrange button at the bottom of the screen in
Arrange Mode.
You can also set the track's playback type from Clip Matrix Mode or Force's launch pad mode. Hold Shift and press the
Launch button to open the Launch Config window. Select the Show arrangement in clip matrix option so it is enabled.
The arrangement row will appear as the top row of pads above the first row of clips in Matrix/Launch mode. Tapping a
pad in the arrangement row will stop playing any clips on the respective track and play the linear arrangement. Tapping
the Scene Launch button for the arrangement row will play the linear arrangement for all tracks.
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Editing Arrangements
You can edit your linear arrangement using Force's powerful Arrange Edit commands.
To edit an arrangement, tap the pencil icon in the Arrange Mode toolbar to open the Arrange Edit window, and then
select one of the following tools.
The Clear function erases all events from the track and resets all of its
settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.
The Trim function immediately crops the arrangement to the Bars value
in the main Arrangement Mode window.
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The Transpose function transposes a range of events on a track in an
arrangement. The events within that range will shift accordingly in the
Grid View. This option is available for MIDI tracks only.
To select the track you want to transpose within the
arrangement, use the Track field.
To set the time range of the arrangement you want to
transpose, use the two sets of Bar, Beat, and Tick fields. The left
fields set the start of the time range, and the right fields set the end
of the time range.
For drum tracks, use the two Pad fields to select the “source” pad
(whose events you want to move) and “destination” pad (where the
events will be placed). Tap each field and then press the desired pad.
For keygroup tracks, plugin tracks, and MIDI tracks, set the
range and amount of transposition:
Range: Use the two Note fields to set the range of notes of the
events you want to transpose. Note events within this range will
be transposed, while note events outside of this range will
remain unchanged.
Transpose: Use this field to set how many semitones up or
down you want to transpose the note events.
To confirm your choice, tap Do It.
To cancel and return to the previous screen, tap the X, Cancel,
or anywhere outside the window.
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The Copy Bars function copies a range of bars from the arrangement
and adds them at a specified point.
To set the range of bars to copy from the arrangement, use the
First Bar and Last Bar fields.
To set where you want to add the copied bars, use the After Bar
field. The copied bars will be inserted after this one.
To set how many instances of the copied bars you want to add,
use the Copies field.
To overwrite the arrangement at the destination, tap Replace.
To add the events to the destination without erasing anything,
tap Merge.
To cancel and return to Arrange Mode, tap Cancel.
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In Arrange Mode, you can tap and hold on the header for an audio track (on the left side of the screen) to open a drop-
down menu of Track Edit options for audio tracks.
The Clear function erases all events from the track and resets all of its settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.
The Copy Track function immediately duplicates the selected track to a new track.
The Copy Events function copies selected audio track regions from the track and adds them to another at a specified
point.
To select the “source” track, use the From Track field. This is the track whose content you want to copy.
To set what content is copied, use the field below the From Track field. Copy All Events will copy and paste all
events in the track. Copy Only Selected Events will copy and paste only the events that are currently selected.
To set the time range of the events or the audio track you want to copy, use the Bar, Beat, and Tick fields. The
left fields set the start of the time range, and the right fields set the end of the time range.
To select the “destination” track, use the To Track field. This is the track where the content of the source track will
be copied.
To set where you want to add the copied events or audio track, use the Bar, Beat, and Tick fields. The events or
audio track will be added after this point.
To set how many instances of the copied events or audio track you want to add, use the Copies field.
To overwrite the arrangement at the destination, tap Replace.
To add the events to the arrangement at the destination without erasing anything, tap Merge.
To cancel and return to Arrange Mode, tap Cancel.
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The Reset Channel Strip function immediately:
• clears all Insert effect slots;
• turns Mute, Solo, automation, and Monitor off;
• resets the pan knob to the center;
• resets the level slider to 0.00 dB; and
• turns the Record Arm button off.
The Bounce to Sample function immediately renders the track as an audio sample and places it in the project’s sample
pool. By default, it will be named Bounce - and appended with the track name.
The Flatten Track function immediately renders all edits and regions within the current track's arrangement to a new
audio file.
The Flatten Track Elastique function also immediately renders all edits and regions within the current track's
arrangement to a new audio file, but renders any time-stretching or pitch-shifting using the Elastique Pro algorithm,
providing higher-quality results with less artifacts than Force's standard algorithm.
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You can also tap and hold on the header for a MIDI track (on the left side of the screen) to open a drop-down menu of
Track Edit options for MIDI tracks.
The Clear function erases all events from the track and resets all of its settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.
The Copy Track function immediately duplicates the selected track to a new track.
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The Double-Speed Events function immediately halves the lengths of all note events on the track in the arrangement
as well as the distance between them. In other words, the track’s notes are pressed closer together so the track 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 on the track in the arrangement as
well as the distance between them. In other words, the track’s notes are spread further apart so the track sounds like it
is playing at half of the previous speed. This does not actually affect the pitches of notes or the tempo.
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 track 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.
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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
track, use the Density (%) slider.
To set how widely or narrowly the rhythmic patterns of the
generated notes vary, use the Rhythm Variation slider.
The Bounce to Sample function immediately renders the track as an audio sample and places it in the project’s sample
pool. By default, it will be named Bounce - and appended with the track name. This function does not work for MIDI or
CV tracks.
The Bounce to Audio Track function immediately renders the track as an audio track in the project. By default, it will be
named Audio and appended with a number (e.g., Audio 002). This function does not work for MIDI or CV tracks.
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Arrangement Track Editor
When in Arrange Mode, events from the currently selected track can be edited using the bottom panel track editor.
To open the track editor, do either of the following:
• Tap the arrow up icon at the bottom of the screen.
• Double-tap inside a track lane in the main arrangement view.
Once opened, you can also adjust the height of the track editor by tapping and dragging the arrow icon or anywhere in
the editor toolbar.
For drum tracks, you can tap and hold on a pad header in the track editor to open a drop-down menu where you can
quickly Mute, Solo, or change the Color of the pad.
To close the track editor, tap the down arrow icon.
At the top of the Track Editor are two tabs, Grid and Auto. Use the Grid tab to edit MIDI events or audio regions. Use the
Auto tab to edit automation for the track. The editing workflow in the arrangement track editor is the same as in the Clip
Editor, except that the arrangement track editor is fixed to editing the arrangement event list, whereas the clip editor
follows the currently selected clip or arrangement event list.
To edit a track from your arrangement using Clip Edit Mode, make sure the arrangement is playing and the desired
track is selected (you can check this by making sure the Back to Track icon is not displayed on the selected track).
Then, open Clip Edit Mode to edit the arrangement track.
Press and hold Shift to view additional editing options for the Track Editor.
To select all events, tap Select All.
To cut the selected events, tap Cut.
To copy the selected events, tap Copy.
To paste the selected events at the playhead location, tap Paste.
To delete the selected events, tap Delete.
To duplicate the selected events, tap Duplicate. The events will be added after the last selected event.
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Locate Popup
Force now includes a popup window for the Locate function, allowing you to quickly jump to specific points in your project.
To open the Locate popup, double-tap the Bars:Beats:Ticks field in the toolbar.
To close the Locate window, tap Close, the X in the upper-right corner, or anywhere outside the window to return
to the arrangement.
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Saving and Exporting the Arrangement
To save and export your arrangement, press the Save button, and then select Audio Mixdown. In this window, you
can mixdown or stem your arrangement into individual files.
To set the time range that you want to mixdown, use the Start Bar and End Bar fields under Audio Length. You
can add a number of seconds to the end of the mixdown to capture any ringing notes or effects (such as a reverb tail)
by adjusting the Audio Tail field.
To set the parameters for the audio mixdown, use the fields under Render Source and Render Options. Check
the Separate Tracks box to render each track of the arrangement as stems.
To configure the audio mixdown file settings, use the fields at the bottom of the screen to set the File Format, Bit
Depth, and Sample Rate.
You can also export the arrangement as a clip row in an ALS file to use with Ableton Live.
To save the arrangement as a clip row, press the Save button to bring up the Ableton Live Set Export popup, and
then select the Export Arrange as Clips option.
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Clip Event Editor
The Clip Event Editor (formerly Grid Mode, or Event View for MIDI tracks and Region View for audio tracks)
lets you view and edit the note events or audio regions of each clip of a track in a project and their velocities.
This mode has three different appearances: one for audio tracks, one for drum tracks and one for keygroup
tracks, MIDI tracks, and plugin tracks.
To enter the Clip Event Editor, press Menu and then tap Grid. You can also tap Grid at the top of the screen in Arrange
Mode, Clip Editor, or List Mode.
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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In all views, the time counter at the top of the screen indicates the current playhead position.
Additionally, the Settings window lets you configure certain Clip Event
Editor settings.
To view the Settings, tap the gear icon.
Use the Snap Mode selector to set how events “snap” to the grid.
Absolute: Events will “snap” to the nearest time division on the grid
(as determined by the TC field or Time Correct window). This is
the typical and traditional method of using the snap/ quantization
feature.
Relative: Events will “snap” to the nearest time division on the grid
(as determined by the TC field or Time Correct window) plus the
original time position of the event (e.g., an event that is originally
three ticks past a time division on the grid will snap only to positions
that are three ticks past every time division).
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.
This setting is not available when using audio clips.
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 Arrange Mode and the Clip Editor.
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Audio Tracks
When viewing audio clips in the Clip Event Editor, these seven tool icons at the top of the screen enable you to use
different functions in the clip.
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Tap the pencil Edit icon to open the Grid Edit menu for audio clips:
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.
Use Export as Audio to save the current clip as an audio file.
Use the Base File Name field to name the resulting export based on the Clip name or Track name.
Check the Include Track Volume/Pan Settings box to include these settings in the export.
Check the Bypass Track Effects Plugins box to not include track effects plugins in the export.
Use the Audio Tail field to set the amount, in seconds, of extra time added to the end of the resulting audio files.
Use the Bit Depth field to set the bit depth to 8, 16 or 24.
Use the Sample Rate field to set the sample rate to 44.1, 48, 88.2 or 96 kHz. In most cases, we recommend
selecting 44.1 kHz.
Use Flatten Clip or Flatten Elastique to flatten the audio clip when transport playback is stopped, rendering all the
edits and regions within the clip bounds to a new audio clip in a single audio file. The Elastique Pro algorithm can be
used for time-stretching or pitch-shifting, providing higher-quality results with less artifacts than Force's standard
algorithm.
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 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 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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MIDI Tracks
When viewing MIDI tracks in the Clip Event Editor, use these four tool icons at the top of the screen to use different
functions in the grid.
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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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Tap the pencil editing icon next to the time counter to open the event editing window. You can use any of these functions
as described below.
To return to the Clip Event Editor, 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 Trim to clip function immediately cuts all note events from outside the clip bounds.
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.
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.
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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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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.
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 Merge Pads function allows you to merge samples and settings from two drum tracks together.
To select the track from which the pads will be copied, use the From Track field.
To select the track to which the copied pads will be merged, use the Into Track field.
To merge the samples and settings at the start of the next unused bank, check the Start on next bank field.
To merge the pads, tap Do It.
To close the window and return to the previous screen, tap Cancel.
The Copy Pads function allows you to copy one or more pads from one drum track to another.
To select the whether you want to copy an individual Pad, a Bank of pads or a Range of pads, use the Copy
Type menu. Use the fields that appear to select the Pad, From Bank or Start/End Pads that will be copied.
To select the track from which the pads are copied, use the From Track field.
To select the track to which the copied pads are added, use the To Track field.
To set the starting point where the copied pads are added, use the Pad, To Bank or Start Pad fields.
To copy the pads and keep this window open, tap Apply.
To copy the pads and close the window, tap Do It.
To close the window without making any changes, tap Close.
The Convert to Progression function creates a custom Progression from a melodic MIDI track that you can use to perform
with Progressions Note mode.
To set the parameters of the new Progression, use the Progression fields:
To set the progression name, use the Name field.
To set the root note, use the Root Note field.
To set the scale type, use the Scale Type field.
To set the parameters for the chords in the Progression, use the Chord fields:
To select a chord from the progression to edit, use the Chord field.
To rename the selected chord, use the Name field.
To set the type of chord, use the Type field to select Root, Normal or Below Root.
To play the selected chord, tap the Play button.
To convert the progression and close the window, tap Do It.
To close the window and return to the previous screen, tap the X, Close or anywhere outside the window.
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The Export as Pattern and Export as MIDI functions save the current
clip as a pattern (.mpcpattern) or MIDI file (.midi), respectively, to an
external storage device or the internal drive of Force.
To select the storage device you want to view, tap it in the
Storage column on the left.
Internal is the internal drive of Force.
Force Documents is a shortcut to the Force Documents
folder on the internal drive of Force.
If you have storage devices connected to USB ports or SD card
slot of Force, they will appear in this column, as well.
To enter a folder, double-tap it. Alternatively, turn the data dial or
use the –/+ buttons to move through the list, and press the data
dial to enter a folder. You can also tap one of the five folder
buttons in the upper-right to jump immediately to those pre-
assigned file paths (see Browser to learn how to do this).
To create a new folder, tap New Folder, use the virtual keyboard
that appears to enter a name, and then tap Do It. You will
immediately enter the new folder.
To move up one folder level, tap the folder/ icon in the 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.
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Velocity/Automation Lane
The Clip Event Editor also contains a velocity/automation lane where you can easily adjust note velocities and automation
parameters.
When editing velocity, 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.
To edit automation, do any of the following in the Clip Event Editor or Clip Editor:
• Use the pencil tool to draw your automation in the automation lane.
• Use the eraser tool to erase automation points. If you erase all automation points, the parameter will be removed.
• Tap the trash can icon to delete all automation for the selected parameter at once.
When editing Probability automation, the blue bars represent the probability that the note will play. When editing Ratchet
automation, the blue bars represent the ratchet subdivisions for the selected notes, shown as dotted lines on the original
note.
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Clip Editor
The Clip Editor 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.
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.
To view the velocity/automation lane, tap the up arrow (∧) button in the lower-right corner. Velocity and automation
can be edited in the Clip Event Editor. To hide the velocity/automation lane, tap the down arrow (∨) when it is expanded.
The Settings window lets you configure certain Clip Event Editor settings.
To view the Settings, tap the gear icon.
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List Edit Mode
List Edit Mode has some of the features of the Clip Event Editor—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 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 Clip Event Editor 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.
Note
Pad/Keygroup Mixer Automation (Level, Pan, Pad Mute, Pad Solo, or Send 1–4)
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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 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.
Alternatively, press the Insert button at the bottom of the screen to
open the Insert Event window:
Use the Bar:Beat:Tick fields to set the location where you want to
add an event.
Use the Type field to set what kind of event you would like to add:
Note, Pad Automation, Mixer Automation or MIDI Automation.
Use the Pad and/or Parameter fields to set the additional values
or settings based on the type of event.
Tap Do It to add the event.
Tap Cancel, the X or anywhere outside the window to close the
Insert Event window and return to List Mode.
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.
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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.
To open the Timing Correct window, tap TC at the bottom of the screen. See General Features > Timing Correct (TC)
to learn about this.
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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.
You can also create and edit automation using the Step Sequencer.
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 time counter at the top of the screen indicates the current playhead position.
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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.
Use the Nudge < and Nudge > arrows to shift the entire pattern left or right (respectively) by 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.
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.
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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.
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.
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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.
Step Automation
You can also create and edit automation using the Step Sequencer.
Note: When editing step automation, if a step is not activated, a darkened step bar will indicate the current parameter
value at that step, based on the last active step.
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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.
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 Global, Samples, Envelopes, LFO, Modulations, or Effects button
at the bottom of the screen. You can tap the Samples, Envelopes or Effects buttons multiple times to cycle through
the available tabs.
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Tap the keyboard+ icon at the top of the screen to quickly create a keygroup from the selected sample. The new keygroup
will be created on a new track and automatically be selected.
Tap the location icon at the top of the screen (on the right side) 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.
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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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Global
In the Global tab, you can set the playback mode and tuning for the overall Track.
Global Poly (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).
Pan controls the overall panning of the loaded sample/samples in the stereo field.
Use the Mute Group field to assign the selected pad to one of the 32 available groups. When pads assigned to the same
mute group receive MIDI notes, the last pad played will silence all other pads in that mute group. A mute group affects
pads within that track only; mute groups do not affect pads in other tracks.
Tip: This feature is useful for programming realistic hi-hats, so only the open or closed hat is heard.
Use the Layer Play selector to determine how multiple samples assigned to the same pad are played:
• Cycle (Cyc): Each time the pad is played, it will play the next layer’s sample. In other words, the samples will cycle
through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc.
• Velocity (Vel): The pad will switch between layers depending on how hard you press a pad.
• Random (Ran): Each time the pad is played, it will play one of its layer’s samples at random.
Use the Sample Play selector to determine how much of the sample is played.
• One Shot: The entire sample will play from start to end. Use this when you want to play short sounds.
• Note Off: The entire sample will play from start to end after the pad has been pressed and released.
• 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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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 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 four available tabs.
On all four 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 Tail Length and Tail Loop fields to add adding extra audio tail to any chopped sample. This is useful for things
like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample. The Tail
Length parameter enables the sample tail and set its total length, and the Tail Loop parameter sets the starting point
within the tail for looping.
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. The analyzed Key of the sample is displayed
next to the Semi field and will adjust based on this value.
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.
• 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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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).
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, volume level and panning.
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 and velocity range.
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.
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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The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, level and
panning.
Use the Pitch knobs to adjust the amount of randomization applied to each sample layer’s pitch.
Use the Level knobs to adjust the amount of randomization applied to each sample layer’s volume.
Use the Pan knobs to adjust the amount of randomization applied to each sample layer’s stereo placement.
Use the Offset sliders to adjust the amount of randomization applied to each sample layer’s time offset.
The All Layers section will apply randomization to all sample layers for the following envelope parameters: Attack, Decay,
Cutoff and Resonance. Use the Depth slider to control the amount of envelope randomization applied overall.
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Envelopes
Tap Envelopes to cycle through its three available tabs.
Pad Level controls the overall volume level of the loaded sample/samples.
Pad Pan controls the overall panning of the loaded sample/samples in the stereo field.
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.
The Velocity Modulation controls determine how much the velocity affects the volume level of the amplitude envelope
(Amp), the attack of the amplitude envelope (Amp Attack), 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 slider.
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The second Envelope tab contains the filter modulation 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.
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
Depth knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.
Use the Depth slider 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 Depth 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 Depth settings and a high Atk value, resulting in a slight fade-in of the higher frequencies.
The Velocity Modulation controls determine how much the velocity affects the cutoff frequency of the filter envelope
(Cutoff), the attack phase of the filter envelope (Attack), and/or depth of influence the filter envelope has on the cutoff
frequency (Depth).
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 slider.
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The third Envelope tab contains the pitch modulation envelope.
Global Semi lets you transpose the pad up to 36 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 Global tab.
Global 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 Global tab.
The Pitch Envelope controls affect the pad’s pitch. 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 pitch with the Depth slider. See
the later Anatomy of an Envelope section to learn about the envelope parameters.
The Velocity Modulation control determines how much the velocity affects the pitch envelope (Pitch).
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 Pitch slider.
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LFO
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be
used for modulation purposes.
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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Modulations
Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters:
• Sample Start sets how much velocity is needed (for a triggered pad) to modulate the sample start point.
• Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly.
• Filter Env Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the
Filter envelope.
• Filter Env Depth enables velocity information to control the amount of the filter envelope’s effect on the cutoff
frequency.
• Pitch uses the velocity of a pad to modulate the sample pitch.
• Amp uses the velocity of a pad to change the sample level. Lower this value to reduce the effect of velocity on
the amplitude.
• Amp Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp
envelope.
• Pan uses the velocity of a pad to control the stereo panning.
Use the LFO 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
Tap Effects to cycle through its two available tabs.
Inserts
In the first Effects tab, 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 rearrange an insert effect, tap the arrows next to the insert slot to move the selected effect up or down.
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.
To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert
effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.
To load a saved FX rack, tap second folder icon.
To save an FX rack, tap the disk icon.
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To adjust the effect’s parameters, tap the pencil icon. Use the controls 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 main 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.
Drum FX
The Drum FX tab lets you add and control up to eight effects per pad in a Drum track.
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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 Global, Samples, Envelopes, LFO, Porta/Mod, or Effects button at the
bottom of the screen. You can tap the Samples, Envelopes, or Effects buttons multiple times to cycle through the
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 Global 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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Global
In the Global tab, you can set the playback mode and tuning for the overall track.
Transpose shifts the pitch of the MIDI notes sent to the track up to 36 semitones up or down.
Poly (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).
The Key Group Semi field 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).
Pan controls the overall panning of the loaded sample/samples in the stereo field.
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The Lo Key and Hi Key fields let 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.
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.
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.
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.
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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 Tail Length and Tail Loop fields to add adding extra audio tail to any chopped sample. This is useful for things
like making an abrupt end to a sample sound more natural or adding experimental looping effects to a sample. The Tail
Length parameter enables the sample tail and set its total length, and the Tail Loop parameter sets the starting point
within the tail for looping.
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 Global 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 Global 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, volume level, and panning.
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.
Pan lets you adjust the stereo placement of the respective layer.
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The third Samples tab contains the control for its offset. velocity range and root note.
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.
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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The fourth Samples tab contains the controls for adding randomization to sample parameters such as pitch, level and
panning.
Use the Pitch knobs to adjust the amount of randomization applied to each sample layer’s pitch.
Use the Level knobs to adjust the amount of randomization applied to each sample layer’s volume.
Use the Pan knobs to adjust the amount of randomization applied to each sample layer’s stereo placement.
Use the Offset knobs to adjust the amount of randomization applied to each sample layer’s time offset.
The All Layers section will apply randomization to all sample layers for the following envelope parameters: Attack, Decay,
Cutoff and Resonance. Use the Depth slider to control the amount of envelope randomization applied overall.
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Envelopes
Tap Envelopes to cycle through its three available tabs.
Keygroup Level controls the overall volume level of the loaded sample/samples.
Keygroup Pan controls the overall panning of the loaded sample/samples in the stereo field.
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.
The Velocity Modulation controls determine how much the velocity affects the volume level of the amplitude envelope
(Amp), the attack of the amplitude envelope (Amp Attack), 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 slider.
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The second Envelope tab contains the filter modulation 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.
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
Depth knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.
Use the Depth slider 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 Depth 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 Depth settings and a high Atk value, resulting in a slight fade-in of the higher frequencies.
The Velocity Modulation controls determine how much the velocity affects the cutoff frequency of the filter envelope
(Cutoff), the attack phase of the filter envelope (Attack), and/or depth of influence the filter envelope has on the cutoff
frequency (Depth).
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 slider.
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The third Envelope tab contains the pitch modulation envelope.
Global Semi lets you transpose the keygroup up to 36 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 Global tab.
Global 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 Global tab.
The Pitch Envelope controls affect the keygroups’s pitch change 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 pitch
with the Depth slider. See the later Anatomy of an Envelope section to learn about the envelope parameters.
The Velocity Modulation control determines how much the velocity affects the pitch envelope (Pitch).
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 Pitch slider.
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LFO
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be
used for modulation purposes.
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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Porta/Mod
Use the Portamento fields to adjust the settings for pitch gliding.
The Time slider sets the length of the glide between notes.
Tap the Quantize button to synchronize the portamento time with the project tempo.
Tap the Legato button to enable or disable pitch gliding for all triggered notes or just legato notes.
Use the Velocity Sensitivity sliders to set how much velocity is required to modulate certain other parameters:
• Pitch enables velocity information to control the pitch of the sample.
• Amp Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp
envelope.
• Amp enables velocity information to control the overall amplitude (level) of the sample.
• Pan enables velocity information to control the stereo panning of the sample.
• KB>FLT 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.
• Filter Env Attack sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the
Filter envelope.
• Filter Env Depth enables velocity information to control the amount of the filter envelope’s effect on the cutoff
frequency.
• Filter Cutoff uses the velocity of a pad to modulate the cutoff frequency directly.
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 (AftertouchFilter 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.
To rearrange an insert effect, tap the arrows next to the insert slot to move the selected effect up or down.
To load a factory FX rack, tap the Akai folder icon. You can choose from a number of preset combinations of insert
effects by applications like Drums and Percussion, Voice, LoFi, Mastering, and more.
To load a saved FX rack, tap second folder icon.
To save an FX rack, tap the disk icon.
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To adjust the effect’s parameters, tap the pencil icon. Use the controls 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 main 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 six tabs at the bottom of the screen to access the available parameters.
Tap the Edit button in the top-right of the page to edit the MIDI track assignments and naming.
To assign a parameter, tap the dropdown menu and use the data dial or +/- buttons to scroll through the available
MIDI assignments. You can also double-tap the menu to view a list of assignments.
To rename a parameter, tap the pencil icon next to the dropdown menu, and then use the keyboard that appears to
enter a new name. Once renamed, you can save the track and use it with other projects to retain your custom naming.
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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 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.
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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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To enable the Sample Edit pad controls, tap the pads icon next to the name at the top of the screen.
When in Trim Sample Edit Mode, the lower-left quadrant of pads can be used to audition certain parts of the selected
sample:
13 14 15 16
09 10 11 12
Play from Start Play to Start Play to End Play from End
(Note On) (Note On) (Note On) (Note On)
05 06 07 08
Play from Start Play to Start Play to End Play from End
(One Shot) (One Shot) (One Shot) (One Shot)
01 02 03 04
Play Sample (One Shot) (Pad 10) plays the sample once from the start point to the end point. Press the pad once to
play it.
Play Sample (Note On) (Pad 11) plays the sample once from the start point to the end point. Press and hold the pad
to play it, and release the pad to stop playing it. Alternatively, select the headphones icon in the upper-right corner,
and then tap and hold your finger on the waveform.
Play Loop Continuous (Pad 16) plays the sample repeatedly using the mode set by the Loop button (Forward,
Reverse, or Alternating; if the Loop button is off, the sample will loop forward repeatedly).
Play Loop (Pad 13) plays the sample repeatedly using the mode set by the Loop button (Forward, Reverse, or
Alternating; if the Loop button is off, the sample will loop forward repeatedly). Press and hold the pad to play it, and
release the pad to stop playing it.
Play to Loop Start (Pad 14) plays the part of the sample just before the loop point. Press and hold the pad to play it,
and release the pad to stop playing it.
Play from Loop Start (Pad 15) plays the sample from the loop point to the end of the sample regardless of the end
point. Press and hold the pad to play it, and release the pad to stop playing it.
Play All (Pad 9) plays the entire sample.
Pads 1–4 have the same respective functions as Pads 5–8, but Pads 1–4 play the sample part as “One Shots” (pressing
the pad once will play the entire part) while Pads 5–8 play the sample part as “Note Ons” (pressing the pad and holding
it will play the part; releasing it will stop playback):
Play from Start (Pad 1, Pad 5) plays the sample from the start point to the end point.
Play to Start (Pad 2, Pad 6) plays the part of the sample just before the start point to the start point.
Play to End (Pad 3, Pad 7) plays the part of the sample just before the end point to the end point.
Play from End (Pad 4, Pad 8) plays the part of the sample from the end point to the end of the sample.
When in Chop Sample Edit Mode, you can use the lower-left quadrant of pads to add slices to the current sample or
trigger existing slices.
When the current Track is a Drum Track and Pad Sample Edit Mode is selected, you can use the lower-left quadrant of
pads to audition the current sample of the current pad, similar to using Notes mode with a Drum Track.
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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.
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 Clip Event Editor.
Use the Timeline Units selector to set the measurement units shown above the sample waveform. You can select one of
the following options:
• Time: hours:minutes:seconds:frames
• Samples: number of samples
• Beats: bars:beats:ticks
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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. There are two pages of parameters
in Trim Mode, which can be accessed by tapping the > or < arrows on the sides of the page.
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 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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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.
Use the X-Fade field to apply real-time crossfade looping to sample playback. To apply a crossfade, make sure the Loop
starting point is greater than zero. Then, you can set the Length of the crossfade and the Type, either Equal Power or
Linear.
Use either of the Tune fields to transpose the sample up or down from its original pitch.
Use either of the Root Note fields 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.
Use either of the BPM fields to manually set the BPM of the sample. On the second Trim Mode page, use the X2 and /2
buttons to double of halve the current tempo.
To enter a sample key manually, use the Key fields. One field selects the key root note, and the other field selects
whether the key is Major, Minor or off (--).
To detect the key automatically, tap Detect Key.
To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen. 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 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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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 Project. 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.
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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.
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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.
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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.
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 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.
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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 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 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.
If Create Events is checked, use the Bars field to set how many
bars the slices’ events will occupy.
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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 Events is checked, use the Bars field to set how many
bars the slices’ events will occupy.
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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.
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.
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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).
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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 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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Pad Mode
Pad Mode lets you edit a sample in the context of the track in which you’ll use it. You can adjust the pad parameters as
though you were in Track Edit Mode, auditioning and hearing how it will sound in the track’s audio path.
To enter Pad Mode, tap the Pad button at the bottom of the screen. The pads will show their assigned samples in the
current Program.
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.
Program 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 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.
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.
Tap each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform display
for editing.
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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 current sequence.
Use the Number of Beats field to match the number of beats in the sequence.
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 sequence.
To tune the sample to the project and adjust the project tempo, tap To Project. 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.
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.
Use the Slice field to display either the sample as it has been edited (Pad) or the entire sample (All).
If the Slice field is set to All, you can display the sample as it has been edited but keep the start point and end point. To
do this, press and hold Shift, and then tap To Pad at the bottom of the screen. The Slice field will change to Pad, but
the start point and end point will remain in their current locations.
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The Link Slices button does not have a function in Pad Mode.
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.
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Assigning Samples
You can assign your new sample directly to a pad from Pad 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 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.
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.)
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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.
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 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.
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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 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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Sampler
The Sampler lets you record audio samples to use in your projects.
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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. The default value is
20 seconds.
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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.
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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.
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.
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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.
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.
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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.
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 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.
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.
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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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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.
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 main
output (a stereo pair of channels: Output 1/2 or Output 3/4).
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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.
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.
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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 stop 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.
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Macros
Macros Mode (formerly Knobs mode) lets you determine what the various hardware controls can be used for
in other modes. You can use Macros Mode to set up controls for parameters that might not be shown in a
particular mode, or set up controls with multiple parameters across different modes for expressive
performances.
Use the tabs at the bottom of the screen to select a control to assign parameters to:
Knobs
Crossfader
XY Pad
Pad Grid
Env Follower
Click on the links above to jump to that section.
The left side of the screen shows the selected control. Use the Mode field to switch between the different modes for each
control. Some Modes cannot be edited using Macros mode, but you can view their assignments here.
The right side of the screen shows the parameters assigned to the selected controls, and the tools for adding and editing
these parameters.
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Learning Macro Assignments
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Alternatively, you can add parameters by tapping the learn add (+) button, and then using the menu that appears to select
a parameter from your project. The following parameters are available, depending on the selected Mode and the tracks in
your project:
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When a Keygroup Track is selected, and Parameter is set to Keygroup:
Mixer: Pan, Level, Send 1–4, Pad Mute, Pad Solo
Insert 1–4: Available parameters depending on the effect
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Tap the Momentary button 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.
Tap the arrow next to the Momentary to adjust additional settings for when the macro control is released:
To revert the macro parameter(s) to its minimum value on release, check the Go to Minimum box.
To revert to the last value state before the macro was changed on release, check to Go to Previous box.
To rename a macro, tap the keyboard icon in the toolbar, and then use the keyboard to enter a new name.
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Editing Macro Assignments
Above the Macro control tabs on the right side of the touchscreen, the collapsible parameter inspector displays the
settings for the currently selected learned parameter assignment. These settings can be edited for further customization
of the macro.
You can also quickly edit macro controls using the hardware Edit Buttons:
To edit an existing macro, press and hold the Edit button and then select the macro.
To copy and existing macro to a new macro, press and hold Copy to copy the source macro. Then, tap or press
the control where you would like to paste the macro assignment.
To delete an existing macro, press and hold Delete and tap or press the macro control.
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Knobs
In this tab, you can view and/or edit Knob macro assignments, depending on the Mode selected.
To select a mode for the knobs, use the Mode field at the top of the display to select one of the following options:
Volume: In this mode, the knobs are fixed to control track volume.
Pan: In this mode, the knobs are fixed to control track panning.
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Send 1–4: In these modes, the knobs are fixed to control track send
level.
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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.).
At any time, in any mode, you can show the Knobs window over the screen’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 1–2, Track, Track FX Rack,
MIDI or Screen.
To close the Knobs window, release the Knobs button.
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Crossfader
In the Crossfader tab, you can learn any automation parameter from within your project to Force's Crossfader.
There are 16 available crossfader scenes, which can be selected using the Mode field at the top left of the screen. Each
scene can be assigned to one or more parameters.
To change crossfader scenes directly from the hardware, press and hold Assign A and then press Assign B to
move to the next scene. To move to the previous scene, press and hold Assign B and then press Assign A.
To edit the crossfader assignment, press and hold Edit and then press Assign A or Assign B. This will take you to the
Crossfader tab of the Macros page, where you can use the instructions above to edit the assignment.
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XY Pad
In the XY Pad tab, you can learn any automation parameter from within your project to one of four assignable XY Pads.
To cycle between the four available XY Pad assignments, tap the XY Pad tab.
Use the Mode field at the top left of the touchscreen to select the part of the XY Pad that you would like to assign
parameters to. This functions like a collection of different macros, allowing you to assign parameters to the X-Axis, Y-
Axis, Columns 1–8, Rows 1–8, or even different to the axes of the Quadrants in the XY Pad.
Use the Full Screen button to make the current XY Pad fill the entire screen.
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Pad Grid
In the Pad Grid tab, you can learn any automation parameter from within your project to Force's pad matrix. Assigning
automation parameters to the pads gives you a more performative way of controlling effects and mixer parameters. For
example, you can assign a pad to mute a group of tracks, or to toggle insert effects on and off.
Use the Mode field at the top left of the touchscreen to select the pad Bank to assign parameters to.
Use the Full Screen button to make the current pad Bank fill the entire screen.
To access the Pad Grid macros directly from the hardware, do any of the following:
• Press and hold the Knobs button, and then press the Launch/Config button to split the pad matrix between
launching clips and triggering the Pad Grid macros.
• Press and hold the Knobs button, and then press the Notes/Config button to split the pad matrix between playing
notes and triggering the Pad Grid macros.
• Press and hold the Knobs button, and then press the Launch/Config and Notes/Config buttons at the same
time to split the pad matrix between launching clips in the top quadrants and playing notes and triggering the Pad
Grid macros in the bottom quadrants.
When the Pad Grid macros are active in the pad matrix, you can use the Edit buttons to edit, copy and delete macros
from these controls directly from the hardware.
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Env Follower
In the Env Follower tab, you can use an audio signal (such as a kick drum) as a control signal to create side-chain or
modulation effects.
There are 16 available envelope followers, which can be selected using the Mode field at the top left of the touchscreen.
Tap the On button next to the Mode field to enable or disable the envelope.
Use the Envelope Source field to select the audio signal that will be used as the control signal for the envelope. This can
be audio from a track, or, if you choose a Drum track, audio from a specific pad. You can also select the Returns,
Submixes, and Main Output tracks, as well as dedicated LFO (low frequency oscillator) shapes.
After selecting the Envelope Source, you can use the additional fields on the left side of the touchscreen to configure the
envelope parameters. The available parameters when a track, pad or keygroup is selected as the Envelope Source are as
follows:
Use the selector below the Envelope Source field to set where the envelope is applied:
• Input: The envelope is applied at the audio input source. This option is not available for individual Pads or
Keygroups.
• Pre-Inserts: The envelope is applied before any insert effects.
• Post-Fader: The envelope is applied at the end of the channel strip after any insert effects and after the set
volume level.
• Playback: The envelope is applied on playback of the selected track. This option is only available for MIDI
and CV tracks.
Use the knobs below the envelope selector to adjust the parameters of the envelope. Tap the arrows to move between
the pages of parameters when applicable.
• Gain (%) adjust the amount of gain applied to the envelope.
• Delay (ms) adjusts the amount of delay in milliseconds after which the envelope is triggered.
• Gate (%) adjusts the amount of gate applied to the envelope
• Hyst (%) adjusts the level at which the gate closes after opening.
• Attack adjusts the amount of attack for the envelope gate. This can also be adjusted by tapping and dragging
the A handle in the envelope display.
• Decay adjusts the amount of decay for the envelope gate. This can also be adjusted by tapping and dragging
the D handle in the envelope display.
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When LFO is selected as the Envelope Source, the available parameters are as follows:
Use the selector to configure how the LFO is applied to the envelope. Select Free-Running for the LFO to continue
even when not triggered, or select Reset On Play for the LFO to revert to its starting configuration when triggered.
Use the knobs below the selector to adjust the parameters of the LFO:
• Freq (Hz) adjusts the frequency, in Hertz, of the LFO.
• Phase (º) adjust the starting phase of the LFO.
• Level (%) adjusts the amount of LFO applied.
When the LFO envelope is engaged, you will see a representation of the LFO signal.
Once you have configured the envelope follower source, use the right side of the screen to select the parameter(s) that it
will modulate using the same directions as above.
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Live Control Mode
In Ableton Live Control Mode, Force's screen will show a dynamic representation of the Ableton Live software.
To get started with Ableton Live Control, you will need to follow the directions in the sections below to
download, install and configure the necessary and software.
Once the previous steps have been completed, you can begin controlling Ableton Live with your Force.
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To open Live Control mode, press Menu on your Force and then tap Live Control. Alternatively, hold Shift and press
Matrix.
To exit Live Control mode, press Menu on your Force and then select another mode. Alternatively, hold Shift and press
Matrix to return to Clip Matrix Mode.
Live Control Mode consists of three main views, which can be selected by tapping the tabs on the left side of the display:
Matrix View, Mixer View and Device Control View. Click the links to jump to that section.
In each of these modes, you will always have access to the following controls and functions on the display:
Tap a track name to select it.
Tap the stop icons at the bottom of the display to stop clips in the selected track.
Tap the Launch Quantize field (above the scene launch arrows) to set the Launch Quantize value.
Tap the Scene Launch arrows on the right side of the display to launch all clips in that row.
Additionally, Force's hardware controls are pre-mapped to give you hands-on control of parameters and functions. See
Control Map for the complete mapping.
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Control Bar
At the top of the interface is the Control Bar. This toolbar can be configured to one of three presets based on typical
Ableton Live use cases in the Settings window.
To open the Settings window, tap the gear icon in the top-right corner of the display.
Use the Control Bar field to select one of the three preset configurations: Settings, Arrangement or Performance.
• Session: The Session View configuration is ideal for working in Ableton Live's 8x8 clip launch matrix.
Use the BPM field to adjust the tempo in Ableton Live.
Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo in
Ableton Live.
Tap the metronome icon to enable to disable the metronome in Ableton Live.
Tap the follow icon to turn following on or off. When set to on, your Ableton Live software display will move
along with playback to keep the current playback position in view. You can adjust the Follow Behavior in
Ableton Live's Preferences.
Use the Position field to select the playback position.
Tap the + icon to enable or disable MIDI Arrangement Overdubbing.
Tap the automation icon to enable to disable automation recording.
• Arrangement: The Arrangement configuration is ideal for working with Ableton Live's linear Arrangement view.
Use the BPM field to adjust the tempo in Ableton Live.
Use the Position field to select the playback position.
Use the Start field to select the Arrangement loop start point.
Tap the loop icon to enable or disable Arrangement looping.
Use the Length field to select the Arrangement loop length.
• Performance: The Performance configuration is ideal for real-time performance with Ableton Live.
Use the BPM field to adjust the tempo in Ableton Live.
Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo in
Ableton Live.
Use the Quantize To field to set the time division for quantization: 1/4, 1/8, 1/8T, 1/8 and 1/8T, 1/16, 1/16T, 1/16
and 1/16T or 1/32.
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Matrix View
The Matrix View provides an overview of the clip matrix from Ableton Live's Session view, displaying up to eight tracks
and eight rows of clips. The tracks displayed on Force will be shown in Ableton Live with a colored box outline.
Use the cursor buttons to move the Matrix view by one row or column at a time.
Press the Master button to select the Main Output track. This will also bring the Main Output and Sends tracks into
view if they are not already.
All tracks, clips and scenes will display the same color and names as assigned in Ableton Live. The clip launch pads on
Force will also change color depending on the playback or recording state:
When a clip is stopped, it will display the color set in Ableton Live on both the hardware pads and display.
When a clip is playing, the hardware pad will blink green, and the clip on the display will fill with white based on the
clip length.
When a clip is preparing to record, it will flash red on both the hardware pads and display until the launch quantization
value is reached.
When a clip is recording, it will blink red on the hardware pads and be lit red on the display.
You can also access the following controls and features by tapping the buttons at the bottom of the display:
Tap Quantize at the bottom of the screen to quantize the currently selected clip according to the Quantize To value
(set in the Ableton Live Control Settings).
Tap Delete at the bottom of the screen to delete the currently selected clip.
Tap Insert Scene at the bottom of the screen to insert a new scene after the currently selected clip.
Tap Rec at the bottom of the screen to enable or disable Ableton Live's Arrangement Record. Use this to capture
your Session performance into the Arrangement view.
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Mixer View
The Mixer View gives you control of Ableton Live's key mixing features, such as levels, stereo panning, sends and returns
and more. Use the tabs at the bottom of the display to select what information is shown on Force's display.
• Levels: The Levels tab gives you an overview of the volume level of your tracks, including the Returns and the Main
Output track.
Tap a level slider and then use the data dial or –/+ buttons to adjust the volume level of the currently selected
track, return or main output. 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.
• Main: The Main tab gives you a full channel strip with a number of mixing options for your tracks.
Tap the track activator (under the track name) to enable or disable (mute) the track.
Tap the S button to solo the track.
Tap 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 main output. Alternatively, tap
and drag the pan slider to adjust the panning. 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 main output. 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.
• Sends: The Sends tab gives you an overview of the Send and Return controls in Ableton Live.
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. Alternatively, tap and drag the send knob to adjust the send level.
Tap the A or B icons to assign the track to the Ableton Live's A or B cue mix.
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Device Control View
The Device Control View allows you to control MIDI Instruments, Audio Effects and other Devices in Ableton Live directly
from your Force. The current view of the Device Control Tab is determined by the "blue hand" remote control icon in
Ableton Live's Detail View.
Tap the Track Name under the Control Bar to select the Track. If there is a Device(s) associated with the Track, the
first will be shown below.
Tap the lock icon on the right side to lock parameter changes to the device.
Use the sliders to adjust the parameters of the device. Tap a slider and then use the data dial or –/+ buttons to adjust
the parameter. Alternatively, tap and drag a slider to adjust the parameter.
Use the Device – and + buttons to change devices on the same track. The white and grey boxes below the parameter
sliders represent the number of available Devices.
Use the Bank – and + buttons to cycle through banks of controls for the device, if available. For internal Ableton Live
plugins, you will see the name of the current bank. For third party plugins, you will see the number of the current bank.
Tap Device On to enable or disable (bypass) the device.
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Control Map
Basic Controls
1 Display In Ableton Live Control Mode, Force's display will show a dynamic representation of
Ableton Live's software.
9 Shift Hold this button to access secondary button functions. See Shift Controls for more
details.
10 Directional Cursors Moves the 8x8 Session Matrix by one row or one column. The clip slots currently being
controlled by Force's clip launch pad grid are shown in Ableton Live with a red border.
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# Device Control Ableton Live Function
13 Assign A / Assign B Press and hold one of these buttons and then press a Track Assign Button to assign the
track to one of Ableton Live's cue mixes.
14 Crossfader Controls Ableton Live's crossfader to blend between Cue Mixes A and B.
15 Knobs Adjusts the parameters displayed in the OLED screens above. Use the Knobs Button to
toggle between Knobs 1–8 (which control Track Level for the eight tracks currently
viewed) and Knobs 9–16 (which are mapped to control the device on the current track,
based on the location of the "blue hand" in Ableton Live's Detail View).
17 Clip Launch Pads Force's pads are fixed to clip launching in Ableton Live Control Mode.
19 Select Press and hold this button and tap a clip to select it without launching it
20 Copy Duplicates the selected clip into the next available clip slot.
22 Tap Tempo Tap this button at the desired rate to set a new tempo in Ableton Live.
23 Track Selectors Select one of the current eight tracks. The selected track will be highlighted white.
24 Mute Sets the Track Assign buttons to Mute for the current eight tracks.
25 Solo Sets the Track Assign buttons to Solo/Cue for the current eight tracks.
26 Rec Arm Sets the Track Assign buttons to Record Arm for the current eight tracks.
27 Clip Stop Sets the Track Assign buttons to Stop Clips for the current eight tracks.
28 Track Assign Performs the selected action (Mute, Solo, Rec Arm or Clip Stop) for the current eight tracks.
29 Master Selects the Main Output track and Sends. Press again to return to the previously selected
track.
Shift Controls: Press and hold Force's Shift button, and then press the following buttons for additional actions:
10 Directional Cursors Moves the 8x8 Session Matrix by eight rows or eight columns.
23 Track Selectors Sets the Global Launch Quantization to the value shown beneath the corresponding
button. The current value will be lit white while Shift is held.
31 Quantize Quantizes the currently selected clip to the grid value set by Force. To set this value, tap
the Setting gear icon in the top-right of the display, then use the Quantize To field to set
the value.
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MIDI Learn
You can use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific Force
project:
• Mixer parameters such as volume, pan, mute, and solo for tracks, returns, submixes, and main outputs.
• Pad parameters (for drum tracks and clip tracks only) such as tuning, filter and amp envelopes, layer settings, LFO
settings, and velocity.
• Track parameters, which depend on the track type.
• Insert effects parameters, which depend on the effect type.
These assignments will be saved with your Force project.
To enter MIDI Learn Mode, press Menu, and then tap MIDI Learn.
To clear an assignment, tap it in the list, and then tap Clear in the bottom-left corner. Alternatively, follow the steps above
to reassign its Source field to None and assign its Target field to Off.
To clear all assignments, tap Clear All in the upper-right corner.
To delete an assignment (the entire slot), tap it in the list, and then tap Delete in the lower-right corner.
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Sounds Mode
Sounds Mode allows you to easily browse plugin instruments, save favorite presets, and build setlists to
quickly recall projects for live performances.
To enter the Sounds Mode, press Menu, and then tap Sounds.
When viewing either the Sounds or Favorites menu, you can swap to the other menu by tapping the first
tab at the bottom of the touchscreen.
Tap the gear icon at the top of the screen to open the Sounds menu settings. Here, you can set the default Sounds menu
view to be Instruments or the Current Preset, and enable or disable opening Track Edit mode when loading an
instrument.
Tap Locate Preset at the top of the touchscreen to open the preset list for the currently selected plugin instrument.
Tap Edit Instrument at the bottom of the touchscreen to open Track Edit mode to adjust the instrument parameters.
Tap the Instruments button to select another program type to search for using the Sounds interface. You can search
for Drum, Plugin, Keygroup, Clip, MIDI, and CV program types in any factory expansions or user expansions on any
attached drives. When browsing an expansion or user folder, tap a cell to load the selected program.
When searching for non-Plugin programs, you can also tap and hold on an empty space to set a preferred folder location
for your saved programs.
To edit an existing Favorite slot, tap and hold on a filled Favorite slot.
In the menu that appears:
• Tap Clear to clear the slot.
• Tap Overwrite to replace the favorite with the currently selected
preset.
Setlists
Use the Setlists tab to create a list of projects to easily recall, such as for a live performance.
To create a Setlist:
1. Open the Setlist tab from the Sounds page.
2. Tap and hold on an empty Setlist slot, and then tap Choose Project.
3. In the file browser that appears, locate the project you would like to add and then tap Select to load it.
To edit an existing Setlist slot, tap and hold on a filled slot. In the menu that appears:
• Tap Choose Project to select a different project for the same slot.
• Tap Clear to empty the selected slot.
• Tap Copy to copy the project to another slot. Then, tap and hold on an empty slot and tap Paste.
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Pad Color Mode
Pad Color Mode lets you assign specific colors to your pads in a drum track.
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.
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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.
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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 triplet-based rate.
Delay/Reverb
Options: AIR Delay, AIR Diff Delay, AIR Multitap Delay, AIR Non-Lin Reverb, AIR Reverb, AIR Spring Reverb, Delay
Analog Sync, Delay Analog, Delay HP, Delay LP, Delay Mono Sync, Delay Mono, Delay Multi-Tap, Delay Ping Pong,
Delay Stereo, Delay Sync (Stereo), Delay Tape Sync, Reverb In Gate, Reverb Large 2, Reverb Large, Reverb
Medium, Reverb Out Gate, Reverb Small, Sample Delay
AIR Delay
This is a classic delay line effect with a variable feedback Parameter Value Range Default Value
filter. Additional Ratio and Width parameters enable you to
achieve a wide range of stereo delay effects. Time
Sync Off 1 ms – 2.00 s 388 ms
Sync On 1/32 – 8/4 1/8D
Sync Off, On Off
Feedback 0–100% 40%
Mix 0–100% (dry–wet) 50%
Delay Ratio 50:100 – 100:50 100:100
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
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AIR Diff Delay
This is a delay line effect that is synchronized to Parameter Value Range Default Value
your session tempo and uses an adjustable amount
of diffusion to emulate the dissipation of echoes in Time
reverberant space. Sync Off: 1 – 1000 ms 161 ms
Sync On: 1/64 – 4/4 (including 1/16D
Triplet and Dotted
variations)
Sync Off, On On
Width 0–100% 100%
Mix 0–100% (dry–wet) 40%
Feedback 0–100% 50%
Fdbk. Diffusion 0–100% 40%
Fdbk. High Damp 0–100% 35%
Low Cut 20.0 Hz – 1.00 kHz 20.0 Hz
Pan -100 – 0 – +100% 0%
This effect is a versatile, creative delay plugin with a Parameter Value Range Default Value
wide range of applications from subtle stereo delays
to complex repeating patterns. Delay
Sync On: 1/16 – 8/4 4/4
Sync Off: 0 ms – 4.00 s 2.25 s
Feedback 0–100% 50%
Mix -100.0 – 0.0 dB -50.0 dB
From/To Varies Tap 5 / Input
Sync Off, On On
Low Cut 20.0 Hz – 1.00 kHz 500 Hz
High Cut 1.00 kHz – 20.0 kHz 2.00 kHz
1–5 Off, On On
Tap Delay 10.0 ms – 10.0 s Varies
Pan L100 – C – R100 Varies
Level -Inf – 0.0 dB 0.0 dB
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AIR Non-Lin Reverb
This is a spatial effect, designed to produce synthetic, Parameter Value Range Default Value
processed ambience with special gated and reversed reverb
effects. 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
AIR Reverb
This is a spatial effect, with a wide range of reverb types to add space or room to your audio signal.
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AIR Spring Reverb
This is a spatial effect, designed to emulate the sound of a Parameter Value Range Default Value
spring reverb tank.
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
Analog Delay is similar to Mono Delay, except that it’s Parameter Value Range Default Value
designed to emulate an analog “Bucket Brigade”-style delay.
This delay has a unique character to it that gives a warmer Dry/Wet 0–100 (dry–wet) 50
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
Delay Analog
Analog Delay is similar to the Mono Delay, except that it’s Parameter Value Range Default Value
designed to emulate an analog “Bucket Brigade”-style delay.
This delay has a unique character to it that gives a warmer Dry/Wet 0–100 (dry–wet) 50
sound by adding subtle inaccuracies in phase and timing. Time 2–2000 ms 100
Feedback 0–100 25
Delay HP
HP Delay is identical to the Mono Delay, but it uses a Parameter Value Range Default Value
resonant high-pass filter in the delay line.
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 LP
LP Delay is identical to the Mono Delay, but it uses a Parameter Value Range Default Value
resonant low-pass filter in the delay line.
Dry/Wet 0–100 (dry–wet) 50
Time 2–2000 ms 500
Feedback 0–100 50
Cutoff 0–100 50
Resonance 0–100 20
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Delay Mono Sync
This mono effect delays the original signal for a specified Parameter Value Range Default Value
period of time (synced to the project tempo) and plays it
back over an adjustable period of time. Dry/Wet 0–100 (dry–wet) 50
Time 1 bar – 1/16 triplets 1/4
Feedback 0–100 50
Damping 0–100 100
Delay Mono
This mono effect delays the original signal for a specified Parameter Value Range Default Value
period of time and plays it back over an adjustable period of
time. Dry/Wet 0–100 (dry–wet) 50
Time 2–2000 ms 100
Feedback 0–100 25
Damping 0–100 100
Delay Multi-Tap
This delay is a mono delay which has three delay generators Parameter Value Range Default Value
with independently adjustable delay times and stereo
position. 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
This stereo delay allows you to set different delay times for Parameter Value Range Default Value
its left and right repeats.
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
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Delay Stereo
Stereo Delay operates similarly to Mono Delay but in true Parameter Value Range Default Value
stereo.
Dry/Wet 0–100 (dry–wet) 50
Time 2–2000 ms 100
Feedback 0–100 25
Damping 0–100 100
This effect is the same as Delay Stereo but is synced to the Parameter Value Range Default Value
project tempo.
Dry/Wet 0–100 (dry–wet) 50
Time 1 bar – 1/16 triplets 1/4
Feedback 0–100 50
Damping 0–100 100
Tape Delay emulates a delay system using an analog tape Parameter Value Range Default Value
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 0–100 (dry–wet) 50
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
Reverb In Gate
This is a hall reverb with an additional control. The reverb Parameter Value Range Default Value
effect is cut off when the input drops below the level set in
the Gate In parameter. 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
296
Reverb Large 2
This is a less CPU-intensive spatial effect, emulating the Parameter Value Range Default Value
sound of a large hall.
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 Large
This is a spatial effect, designed to emulate the sound of a Parameter Value Range Default Value
large hall.
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. 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
297
Reverb Out Gate
This is a hall reverb that has an additional control. The reverb Parameter Value Range Default Value
effect is cut off when the output drops below the level set in
the Gate Out parameter. 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 Out 0–100 0
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
Sample Delay
This effect is a utility delay plugin that can delay the left and Parameter Value Range Default Value
right channels by different, small amounts to loosen
percussion elements or add stereo width. Left / Right 0–11025 Samples 0 Samples
or or
0.0–250.0 ms 0.0 ms
Samples / MS Samples, MS Samples
Link Off, On Off
298
Dynamics
Options: AIR Channel Strip, AIR Compressor, AIR Limiter, AIR Maximizer, AIR Noise Gate, AIR Pumper, AIR
Transient, Bus Compressor, Compressor Opto, Compressor VCA, Compressor Vintage, Mother Ducker Input,
Mother Ducker, Transient Shaper
AIR Compressor
This basic compressor effect changes the dynamic Parameter Value Range Default Value
range of a signal by automatically reducing its gain if it
exceeds a certain level (the threshold). Threshold -60.0 – 0 dB -48.0 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
299
AIR Limiter
This is a lookahead limiter perfect for mastering or Parameter Value Range Default Value
mixing.
Gain -12.0 – 36.0 dB 0.0 dB
Ceiling -24.0 – 0.0 dB 0.0 dB
Look Ahead 0.0 – 20.0 ms 0.0 ms
Release 10.0 ms – 10.0 s 316 ms
LF Mono 10.0 Hz – 1.00 kHz 10.0 Hz
AIR Maximizer
This effect is a limiter optimized for professional Parameter Value Range Default Value
mastering.
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
This effect is similar to a compressor, but instead of Parameter Value Range Default Value
attenuating audio signal that rises above a threshold, a noise
gate attenuates audio signal that falls below a threshold by a Threshold -120.0 – 0.0 dB -48.0 dB
set amount. This can help reduce background noise in your Depth 0 dB – -120.0 dB -120 dB
audio signal.
Denoise Filter Off, On Off
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
AIR Pumper
This effect creates a rhythmic pumping effect, similar to that Parameter Value Range Default Value
of sidechain compression.
Depth 0–100% 80%
Speed Bar, 1/2 – 1/32T 1/4
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%
300
AIR Transient
This effect is used to enhance or soften the Attack and Parameter Value Range Default Value
Release phases of audio material.
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
Bus Compressor
This is the most transparent compressor, able to perform Parameter Value Range Default Value
substantial volume adjustments without artifacts.
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
Compressor Opto
The Opto Compressor is modeled after a vintage Parameter Value Range Default Value
compressor type using an optical circuit to control the
volume reduction of the input signal. These compressors are Dry/Wet 0–100 (dry–wet) 100
usually associated with soft and unobtrusive attack and Input -6 – 18 dB 0
release characteristics.
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
Compressor VCA
This compressor is more modern-sounding, with a slightly Parameter Value Range Default Value
more transparent sound. A VCA Compressor tends to have
quicker attack and release times than an Opto Compressor. 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
301
Compressor Vintage
This compressor has a sound similar to classic tube Parameter Value Range Default Value
compressors, with their gentle yet pumping response and a
dash of tube saturation. 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
Mother Ducker
Add this effect as an insert to the track you want to have the Parameter Value Range Default Value
ducking effect applied to. Use the meters to monitor the
level from your trigger input and tweak the Threshold and Ratio 1.00:1 – 60.00:1 6.00:1
Ratio parameters to adjust the amount of ducking. The Knee 0.000 – 6.000 dB 0.000 dB
Attack and Release parameters can be used to sculpt the
envelope of the gain reduction to achieve exactly the Attack 1.0 – 1000.0 ms 10.0 ms
pumping effect you are after. Mother Ducker has eight
internal buses so you can set up multiple channel strips with Release 1.0 – 1000.0 ms 100.0 ms
ducking effects from different sources. Threshold -100.000 – 0.000 dB -6.021 dB
Gain -100.000 – +12.000 dB -0.000 dB
Auto Gain On, Off On
From Bus 1–8 Bus 1
Transient Shaper
A transient shaper can be used to enhance or soften the Parameter Value Range Default Value
Attack and Release phases of audio material.
Dry/Wet 0–100 (dry–wet) 100
Attack 0–100 50
Release 0–100 50
Output 0–100 50
302
EQ/Filter
Options: AIR Enhancer, AIR Filter Gate, AIR Filter, AIR Kill EQ, AIR Para EQ, AIR Vintage Filter, HP Filter Sweep,
HP Filter Sync, HP Filter, HP Shelving Filter, LP Filter Sweep, LP Filter Sync, LP Filter, LP Shelving Filter, PEQ 2-
Band, 2-Shelf, PEQ 4-Band
AIR Enhancer
This effect enhances the low and high Parameter Value Range Default Value
broadband frequencies of the audio signal.
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) +
This effect chops your audio signal into Parameter Value Range Default Value
rhythmic patterns with variable filtering,
amplitude and panning. Pattern Straight, Pulse, Pumper, Marching, Straight
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
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, Random
96, 128, 192, 256 Steps
Mod Env -100 – 0 – 100% 0%
Mod LFO 0–100% 0%
303
AIR Filter
This effect applies a filter to the audio Parameter Value Range Default Value
signal and then applies selectable
saturation or reduction to the filtered Cutoff Freq 55.0 Hz – 20.0 kHz 20.0 kHz
signal. Reso Factor 0.7 – 20.0 1.0
Type LP4–1, BP2, BP4, HP2_LP1, LP4
HP3_LP1, HP4–1, BR2, BR4,
BR2_LP1, BR2_LP2, HP1_BR2,
BP2_BR2, HP1_LP2, HP1_LP3,
AP3, AP3_LP1, HP1_AP3
Output Gain -Inf dB – 0.0 dB 0.0 dB
Saturation Resample, Bit Crush, Rectify, Hard Overdrive
Type Clip, Distort, Overdrive
Saturation 0.0 – 12.0 dB 0.0 dB
Drive
Saturation DCF, CVF DCF
Mode
AIR Kill EQ
This effect can zap out the Low, Mid or High broadband Parameter Value Range Default Value
frequency from an audio signal.
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
304
AIR Para EQ
This effect is a powerful four-band parametric equalizer with Parameter Value Range Default Value
four independent EQ ranges, adjustable Low and High EQ
filter types, and dedicated Low Cut and High Cut. High Freq 1.2 – 20.0 kHz 6.00 kHz
High Q
Shelf 0.40 – 2.00 1.00
Bell 0.40 – 10.00 1.00
High Gain
Shelf -12.0 – +12.0 dB 0.0 dB
Bell -18.0 – 18.0 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 0.40 – 2.00 1.00
Bell 0.40 – 10.00 1.00
Low Gain
Shelf -12.0 – +12.0 dB 0.0 dB
Bell -18.0 – 18.0 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 120 Hz – 20.0 kHz 20.0 kHz
Freq
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 12 dB
Low Cut Out/In Out, In
305
AIR Vintage Filter
This effect is a powerful filter plugin for bringing Parameter Value Range Default Value
those classic analog filter sounds to your tracks,
perfect for synths, guitars plus loads more. Cutoff 20.0 Hz – 20.0 kHz 878 Hz
Resonance 0–100% 0%
Fat 0–200% 200%
Mode LP24, LP18, LP12, BP, HP LP18
Attack 10.0 ms – 10 s 10.0 ms
Release 10.0 ms – 10 s 966 ms
Env. Depth -100 – 0 – +100% +37%
Sync Off, On On
Rate
Sync On: 16 – 8/4 4T
Sync Off: 0.01–10.0 Hz 2.54 Hz
LFO Depth 0–100% 61%
Output –Inf dB — 0.0 dB 0.0 dB
HP Filter Sweep
This effect is a high-pass filter with its cutoff frequency Parameter Value Range Default Value
modulated by an LFO.
Dry/Wet 0–100 (dry–wet) 80
Low Frequency 0–100 50
High Frequency 0–100 100
Resonance 0–100 33
Rate 0–100 10
HP Filter Sync
This effect is a high-pass filter with its cutoff frequency Parameter Value Range Default Value
modulated by an LFO.
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
HP Filter
This effect is a static filter without modulation. Parameter Value Range Default Value
Frequency 10–19999 Hz 1500
Resonance 0–100 0
306
HP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameter Value Range Default Value
all frequencies after the cutoff point equally.
Frequency 10–19999 Hz 1500
Resonance 0–100 0
Gain -18.0 – 18.0 dB 0.0
LP Filter Sweep
This effect is a low-pass filter with its cutoff frequency Parameter Value Range Default Value
modulated by an LFO.
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
LP Filter Sync
This effect is a low-pass filter with its cutoff frequency Parameter Value Range Default Value
modulated by an LFO.
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
LP Filter
This effect is a static filter without modulation. Parameter Value Range Default Value
Frequency 10–19999 Hz 1500
Resonance 0–100 0
LP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameter Value Range Default Value
all frequencies after the cutoff point equally.
Frequency 10–19999 Hz 1500
Resonance 0–100 0
Gain -18.0 – 18.0 dB 0.0
307
PEQ 2-Band, 2-Shelf
This effect is a combination of one two-band parametric Parameter Value Range Default Value
equalizer and two shelving filters.
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 Parameter Value Range Default Value
four independent EQ ranges.
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
308
Harmonic
Options: AIR Amp Sim, AIR Diode Clip, AIR Distortion, AIR Flavor, AIR Freq Shift, AIR Lo-Fi, AIR Talk Box, AIR Tube
Drive, Decimator, Distortion Amp, Distortion Custom, Distortion Fuzz, Distortion Grimey, Distortion Overdrive,
Frequency Shifter, Granulator, Resampler, TouchFX, XYFX
This effect simulates guitar and bass amplifiers with a Parameter Value Range Default Value
wide range of available cabinet models and tone shaping
options. Cab Model D.I., Brit, 1x8”, 1x12”, 4x10”
2x10”, 2x12”, 4x10”,
4x12”, 1x15” Bass,
4x10” Bass, Radio
Drive 0.0–11.0 0.0
Mode Mono, Stereo Stereo
Output -12.0 – 0.0 – +12.0 dB 0.0 dB
Soft Clip 0–100% 0%
Top Boost 0–100% 0%
Bias 0–100% 0%
Bass -12.0 – 0.0 – +12.0 dB -12.0 dB
Mid -12.0 – 0.0 – +12.0 dB 0.0 dB
Mid Freq 250 Hz – 4.00 kHz 1.00 kHz
Treble -12.0 – 0.0 – +12.0 dB 0.0 dB
This is a distortion effect that can be used for anything Parameter Value Range Default Value
from adding subtle grit to drum breaks to aggressive
distorted mayhem. Input HP 200 – 800 Hz 500 Hz
Env Speed 0–100% 50%
Output HP 1000 – 4000 Hz 2000 Hz
Output LP 1000 – 12000 Hz 6000 Hz
Wide Off, On Off
Solo Off, On Off
Oversampling Off, On On
Level -inf – 0.0 – +12.0 dB 0.0 dB
309
AIR Distortion
This effect is a multi-type distortion that adds color to your Parameter Value Range Default Value
audio signal with varying types and amounts of distortion.
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%
AIR Flavor
This effect applies EQ simulations of radios, phones, tape Parameter Value Range Default Value
machines, and more to dramatically change the timbre of
your sound. Timbre Varies Neutral
Timbre Depth 0–100% 100%
Vinyl Distortion 0–100% 0%
Vinyl Noise 0–100% 0%
Flutter 0–100% 0%
Monofy 0–100% 0%
This effect shifts the audio signal's individual frequencies for Parameter Value Range Default Value
unique effects.
Mode Up, Down, Up & Up
Down, Stereo
Frequency 10.0 mHz – 10.0 kHz 316 mHz
Feedback 0–100% 0%
Mix 0–100% (dry–wet) 100%
310
AIR Lo-Fi
This effect is used to bit-crush, down-sample, clip, rectify and mangle an audio signal.
This effect adds voice-like resonances to Parameter Value Range Default Value
audio signals.
Vowel OO, OU, AU, AH, AA, AE, EA, EE, AH
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, Sine
Random
LFO Rate
Sync Off: 0.01 – 10.0 Hz 1.00 Hz
Sync On: 8/4 – 16 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
311
AIR Tube Drive
This effect is designed to reproduce the sound of an Parameter Value Range Default Value
overdriven tube amplifier.
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
Decimator
Decimator down-samples the incoming signal by removing Parameter Value Range Default Value
bits from the digital signal. The difference between
decimation and resampling is that Decimator does not use Dry/Wet 0–100 (dry–wet) 100
any filtering to mask or correct digital artifacts. The result is Decimate 0–100 0
an effect ranging from mild to almost completely pure digital
distortion, depending on the setting and the source material. Bit Reducer 4–32 32
Distortion Amp
This effect is designed to reproduce the sound of a tube Parameter Value Range Default Value
amplifier at high volumes.
Dry/Wet 0–100 (dry–wet) 100
Drive 0–100 50
Tone 0–100 50
Dynamics 0–100 50
Output 0–100 50
Distortion Custom
This effect is a highly customized distortion, capable of a Parameter Value Range Default Value
wide range of useable sounds.
Dry/Wet 0–100 (dry–wet) 100
Drive 0–100 50
+Soft 5–75 2
+Clip 5–50 25
–Soft 5–75 2
–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
312
Distortion Fuzz
This popular effect uses hard clipping of the audio signal, Parameter Value Range Default Value
which, at extreme settings, can turn a standard waveform
into a square wave, producing a “razor” effect. 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
Distortion Grimey
This is a unique distortion effect that distorts a frequency Parameter Value Range Default Value
range in a selectable band.
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
Distortion Overdrive
This distortion is designed to sound like a mildly distorting Parameter Value Range Default Value
amplifier at medium volumes. It is the smoothest distortion
type available. Dry/Wet 0–100 (dry–wet) 100
Drive 0–100 50
Tone 0–100 50
Output 0–100 50
Frequency Shifter
A frequency shifter changes the frequencies of an input Parameter Value Range Default Value
signal by a fixed amount and alters the relationship of the
original harmonics. This can produce a chorus-like effect as Dry/Wet 0–100 (dry–wet) 100
well as very crazy artificial timbres. 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
313
Granulator
This effect turns your incoming audio into small grains of Parameter Value Range Default Value
sound that can be looped, pitch shifted, and manipulated
in new and interesting ways. Grain Density 1.0–300.0 68.0
grains/sec grains/sec
Grain Window 20.0–1000.0 ms 608.0 ms
Grain Length 10.0–200.0 ms 171.9 ms
Grain Feedback -99.9 – 0.0 – 99.9% 0.0%
Trigger 0–100% 0.0%
Randomization
Pitch 0–100% 0.0%
Randomization
Pitch -12.0 – 0.0 – 12.0 0.0 semitones
semitones
Fine -50.0 – 0.0 – 50.0% 0.0%
Stereo 0–100% 0.0%
Mix 0–100% 34.6%
Freeze Off, On Off
Resampler
Resampler is similar to Decimator in that it removes bits Parameter Value Range Default Value
from an incoming signal. The difference is that Resampler
applies a complex suite of filters and anti-aliasing to Dry/Wet 0–100 (dry–wet) 100
attempt to retain the original sound quality. This is a Rate 0–100 0
method used by popular vintage samplers and sampling
drum machines from the 1980s. Resampler can be used Decimate 0–100 0
to achieve a “dirty” sound on drum loops, without the
harshness of distortion.
TouchFX
See Addenda > Updates Force 3.2 > New Features > Insert Effect Updates for more information.
XYFX
See Operation > Modes > XYFX Mode for more information.
314
Modulation
Options: AIR Chorus, AIR Ensemble, AIR Flanger, AIR Fuzz-Wah, AIR Half Speed, AIR Multi-Chorus, AIR Phaser,
AIR Pitch Shifter, AIR Stereo Width, AIR Stutter, Auto Wah, Autopan Sync, Autopan, Chorus 2-Voice, Chorus 4-
Voice, Flanger Sync, Flanger, Phaser 1, Phaser 2, Phaser Sync, Tremolo Sync, Tremolo
AIR Chorus
This effect is a compact but powerful plugin for Parameter Value Range Default Value
classic chorus warmth and depth.
Rate 0.01 – 10.0 Hz 1.01 Hz
Depth 0.00 – 24.00 ms 7.10 ms
Mix 0–100% 50%
Feedback 0–100% 0%
Pre-Delay 0.00–24.00 ms 2.00 ms
Wave Triangle, Sine Sine
Offset -180 – 0 – +180 deg. +90 deg.
AIR Ensemble
This effect applies fluid, shimmering modulation Parameter Value Range Default Value
effects to the audio signal.
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 Flanger
This effect applies a short, modulating delay to the Parameter Value Range Default Value
audio signal.
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
315
AIR Fuzz Wah
This is a multi-effect that combines transistor-like distortion and wah.
This effect can quickly create half-speed versions from any Parameter Value Range Default Value
input material. Filter the processed audio using the built-in
high pass and low pass filter to create dramatic transitions, Start, Stop
and use the fade in and fade out parameters to create Loop Length 1/16 – 4 Bars 1 Bar
synchronized transitions between dry and effected audio.
Mode *1.5, *2, *4 *2
Mix 0–100% 100%
Loop Fade 1.00 – 200 ms 4.90 ms
Hard, Soft, 1/16–4
Fade In Hard
Bars
Hard, Soft, 1/16–4
Fade Out Hard
Bars
HPF Off, 20.0 Hz – 20.0 Off
kHz
LPF 20.0 Hz – 19.9 kHz, Off
Off
Band Off, On Off
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AIR Multi-Chorus
This effect applies a thick, complex chorus effect to your Parameter Value Range Default Value
audio signal.
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 20.0 Hz – 1.00 kHz 20.0 Hz
Cut
Chorus Width 0–100% 100%
Mod Wave Sine, Tri Tri
Mod Delay 0.00 – 24.00 ms 6.0 ms
AIR Phaser
This effect applies a phaser to your audio signal, for that Parameter Value Range Default Value
wonderful "wooshy," "squishy" sound.
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, Ninety
Tron,
Offset
Phase -180 – +180 deg. 0 deg.
Rate 25–400% 100%
Type Phase, Rate Phase
This effect alters the pitch of the audio signal and can be Parameter Value Range Default Value
adjusted based on the source or style of the signal.
Mode Vocal, Bass, Beats, Vocal
Chords, Textures
Shift -24.0 – 0 – 24.0 0.0
Mix 0–100% 100%
This effect creates a wider stereo presence in an audio Parameter Value Range Default Value
signal.
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%
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AIR Stutter
This effect creates mind-blowing glitch effects using a Parameter Value Range Default Value
wide range of volume, pan and pitch stutter effects.
Intervals 1/64 – ¼ 1/16
Sync Off, On On
Steps 2–64 5
Step Length 0–100% 100%
Freeze Off, On Off
Decay 50.0 ms – 100 s 6.99 s
Volume -12.0 – 0.0 – 6.0 dB -1.2 dB
Mix 0–100% 100%
Pan Mod 0–100% 50%
Pitch Mod -100 – 0 – +100% 0%
Auto Wah
This effect is a low-pass filter modulated by an envelope that Parameter Value Range Default Value
yields a classic funky “wah-wah”- like sound. The envelope
is triggered by the incoming signal’s amplitude. The amount Dry/Wet 0–100 (dry–wet) 100
of the envelope on the cutoff frequency is user-definable. Resonance 0–100 75
Attack 0–100 30
Release 0–100 30
Center 0–100 50
Sensitivity 0–100 50
Autopan Sync
This effect uses an LFO (tempo-synced to your project) to Parameter Value Range Default Value
move the incoming signal back and forth across the stereo
field, creating a rotary effect. Dry/Wet 0–100 (dry–wet) 100
Rate 8 bars – 1/32 1/4
Autopan
This effect uses an LFO to move the incoming signal back Parameter Value Range Default Value
and forth across the stereo field, creating a rotary effect.
Dry/Wet 0–100 (dry–wet) 100
Rate 0–100 10
Chorus 2-Voice
This effect uses an LFO to modulate the pitch and a delay of Parameter Value Range Default Value
the input signal, which are then added to the dry signal. In
Dry/Wet 0–100 (dry–wet) 100
small amounts, this creates the illusion of multiple voices
playing at once. Turn up the Feedback and Amount for Delay 0–100 20
more pronounced “shimmering” and “watery” sounds.
Amount 0–100 80
Width 0–100 80
Feedback 0–100 50
Rate 0–100 10
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Chorus 4-Voice
This effect is the same as Chorus 2-Voice, but adds Parameter Value Range Default Value
additional voices for more pronounced modulation.
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
Flanger Sync
This effect is the same as Flanger, but syncs to your project Parameter Value Range Default Value
tempo.
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
Flanger
A flanger is a modulated delay to emulate the sound created Parameter Value Range Default Value
when running two analog tape machines in parallel with a
Dry/Wet 0–100 (dry–wet) 100
slight time misalignment. Slow Rate settings can produce a
“whooshing” jet engine sound, while faster rates result in Rate 0–100 10
more of a “warble.”
Feedback -100 – 100 0
Delay 0–100 20
Width 0–100 80
Phaser 1
This effect applies multiple ganged all-pass filters to create Parameter Value Range Default Value
“notches,” or sharp spikes, in the frequency spectrum. The
frequencies of these all-pass filters are usually modulated Dry/Wet 0–100 (dry–wet) 100
by an LFO to create a sweeping sound. Rate 0–100 10
Phaser 2
Phaser Sync
This effect is similar to Phaser 1/Phaser 2, but the LFO is Parameter Value Range Default Value
synced to the project tempo..
Dry/Wet 0–100 (dry–wet) 100
Rate 1 bar – 1/16 triplets 1/4
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Tremolo Sync
This effect uses an LFO (synced to project tempo) to Parameter Value Range Default Value
increase and decrease the volume of the signal. Depending
on the LFO shape, this can produce a smooth wave effect Dry/Wet 0–100 (dry–wet) 100
(sine wave) or a stuttering “on-off” effect (square wave). Rate 1 bar – 1/16 triplets 1/4
Sine to Square 0–100 (sine–square) 0
Tremolo
This effect is the same as Tremolo sync, but the LFO is Parameter Value Range Default Value
not synced to project tempo.
Dry/Wet 0–100 (dry–wet) 100
Rate 0–100 10
Sine to Square 0–100 (sine–square) 0
Vocal
Options: AIR Vocal Doubler, AIR Vocal Harmonizer, AIR Vocal Tuner
This effect creates realistic vocal doubles to add width Parameter Value Range Default Value
or thickness to a vocal line.
Voices 1–8 4
Stereo Spread 0–100% 70%
Lead Volume -Inf – +6.0 dB 0.0 dB
Doubler Volume -Inf – +6.0 dB 0.0 dB
Pitch +/- 0–250% +/- 38%
Pitch Speed 0–100% 75%
Timing 0–800 ms 63 ms
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AIR Vocal Harmonizer
This effect can create up to four-part realistic vocal Parameter Value Range Default Value
harmonies and complex doubling effects. Each vocal part
has its own level, delay, formant, mode and interval Key A–G# C
parameters. Scale Major, Minor, Harm Major
Minor, Melo Minor,
Dorian, Phrygian,
Lydian, Mixo,
Locrian, Chromatic,
Penta, Maj Triad,
Min Triad, Root
Lead Volume -Inf – 0.0 dB 0.0 dB
Harmony Volume -Inf – 0.0 dB -2.5 dB
Timing 0–100% 42%
Tuning 0–100% 14%
Smooth 5–200 ms 8 ms
Voice Range Very Low, Low, Mid, Mid
High, Very High
Root Mode Split A–G# E
Reference 420.0–460.0 Hz 440.0 Hz
Delay Sync Off, On On
Harmony 1–4 Off, On 1 On
This effect applies pitch correction for natural sounding or Parameter Value Range Default Value
hard-tuned vocal effects.
Detection Unworried, Default, Default
Selective, Picky,
Blind
Voice Range Very Low, Low, Mid, Mid
High, Very High
Key A–G# A
Scale Major, Minor, Harm Minor
Minor, Melo Minor,
Dorian, Phrygian,
Lydian, Mixo,
Locrian, Chromatic,
Penta, Maj Triad,
Min Triad, Root
Retune Time 1–1000 ms 32 ms
Reference 420.0–460.0 Hz 440.0 Hz
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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.
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.
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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 four-
pole filter that distorts at high input levels. Model2 uses a mellow resonance with a “fattening”
distortion in the lower frequencies. Model3 can produce howling, piercing resonances and
extreme sub frequencies—watch your speakers!
The Vocal filters are formant filters that emulate the human voice. Vocal1 produces “ah” and
“ooh” vowel sounds. Vocal2 uses three bands to produce “oh” and “ee” vowel sounds. Vocal3
uses five bands to emulate an idealized model of the vocal tract.
MPC3000 LPF is a dynamic, resonant low-pass filter (12 dB/oct) that was used on the original
MPC3000, released in 1994.
Please also see the entry for Resonance, an essential characteristic of a filter’s sound.
Gate Gate messages are analog messages sent to external synthesizers, drum machines, etc. Gate
messages are typically used in conjunction with CV messages (CV messages determine the pitch of
notes while Gate messages determine note activation and length). Gate messages are sent from the
CV out ports of your Force hardware and to the CV/Gate in ports of your external device.
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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).
Note On & Note This is the most important MIDI message. It determines the pitch and velocity of a generated note.
Off 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.
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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.
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.
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 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.
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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.
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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.
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MIDI Machine Control (MMC)
Your Force hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport
controls.
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 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 Preferences 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.
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Technical Specifications
Specifications are subject to change without notice.
Memory RAM 2 GB
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Digital Audio System ADCs 32-bit @ 44.1kHz
SNR 111 dB
Gain Range 59 dB
SNR 111 dB
SNR 111 dB
THD+N 0.005%
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Main Outputs 1–2 Dynamic Range 114 dB (A-weighted)
(2) impedance-balanced THD+N 0.003% (1 kHz, -1 dBFS)
1/4” (6.35 mm) TRS
Frequency Response 20 Hz – 20 kHz (+0.0 / -0.2 dB)
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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.
Force incorporates élastique Pro V3 by zplane.development.
All other product names, company names, trademarks, or trade names are those of their respective owners.
This product contains technologies that are used under license. For more information, please visit akaipro.com/product-
legal.
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Addenda
Updates in Force 3.0.2
New Features
Splice Integration
Your Force now integrates with the Splice platform, allowing you to download and browse your Splice sample library on
your standalone device.
To access Splice:
1. First, make sure your Force hardware is connected to a network via Wi-Fi or Ethernet. See Preferences > Wi-Fi or
Preferences > Ethernet to learn how to connect to a network. You will also need access to a web browser.
2. On your Force, hold Shift and press Menu to open the Preferences page.
3. Navigate to the Splice tab.
4. Tap the Get Login Code button. (If you are not connected to a network, you will be prompted to do so before the Get
Login Code button appears.)
5. Follow the on-screen instructions to pair your Force to your Splice account via a web browser. It may take your Force
a few moments to successfully link.
6. A message will appear on screen when the link has been successfully established. Tap OK to continue and return to
the Splice Preferences page.
7. Once the process is complete and your Force has been paired to your Splice account, use the Sync Files button to
download your samples via Wi-Fi to a drive of your choice.
By default, files will be stored on the Internal drive. You can change the selected drive by tapping the Change button
under Sync Files To Drive.
Note: The original sample files from Splice are stored in the By Pack folder on your selected drive. Other folders such as
By Instrument contain internal links to help sort these samples by various tags. If the By Pack folder on your drive is
deleted, the files in the remaining folders will become unusable. To fully remove all files, the entire Splice directory should
be deleted.
IMPORTANT: Drives formatted using the FAT32 system do not support these internal links. For these drives, samples will
only be sorted in the By Pack folder. We recommend using an exFAT file system on external drives used with Force, as
it is the most robust one supported by both Windows and macOS.
To view the number of samples available to download from your account, tap the Check For Update button.
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Browser Audition Warp and Sync
In the Browser, you can now audition samples that have a Force-embedded tempo in sync with the project tempo.
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Updates in Force 3.0.3
New Features
You can now export your projects as an Ableton Live Set (.ALS) file.
Callout Menus
You can now copy, paste, create and delete clips directly from
the screen in Matrix Mode.
Tap and hold on a clip slot to bring up a drop-down menu of
options. For clip slots with clips in them, you can select Copy,
Delete, Edit Clip (brings you to Clip View in Clip Edit Mode),
Edit Event/Edit Region (brings you to Event View or Region
View in Clip Edit Mode) and Settings (opens the Clip Settings
Window).
For empty clip slots, you can Create a new clip or Paste a
copied clip.
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Clip Export
You can now export clips from your Force projects as audio, MIDI or MPC Pattern files.
You can also select All Clips from the Save window to export all audio and/or MIDI clips at the same time, using the same
settings as above.
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Convert to Keygroup
You can now easily convert samples to a keygroup to play the sample chromatically.
Erase Notes
1. Select a clip with MIDI events, such as one from a Drum, Plugin or Keygroup track, and launch it.
2. Make sure the clip launch pads are in Note mode.
3. Press and hold the Delete button, and then press and hold a pad. As the clip plays, any corresponding events for that
pad will be erased for as long as the pad is held.
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Grid/Region Automation Lanes
You can now input, view and edit automation while viewing MIDI Event View and Audio Region View.
When recording MIDI with Force, you can now restrict the recorded notes to a set scale.
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Step Automation
You can now input, view and edit automation in the Step Sequencer.
Note: When editing step automation, if a step is not activated, a darkened step bar will indicate the current parameter
value at that step, based on the last active step.
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Step Sequencer Mode – Mono Lanes
Force now includes an additional Step Sequencer mode for melodic track types, Mono Lanes.
Submixes
To edit a Submix:
1. Press Mixer to open the Mixer.
2. Press Master, or swipe to the left to open the Buses
section of the Mixer. Submixes are located to the left of
the Return and Output channel strips.
3. Use the Pan & Volume, Sends, and Inserts & I/O tabs to
adjust the various settings for the submixes.
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Workflow Enhancements
FX List Sorting
You can now sort FX by Type to quickly access plugins by the following categories: Delay/Reverb, Dynamics, EQ/Filter,
Harmonic, Modulation and Vintage Effects.
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Updates in Force 3.0.4
New Features
Your Force hardware is now pre-mapped to control Ableton Live 10.1.2 or later for instant performance and production
setup, providing an unparalleled level of integration with Ableton Live from a standalone device. Force's Live Control Mode
has been carefully designed to allow you to instantly switch between using Force in standalone mode and Live Control
mode without ever stopping playback. You can control Ableton Live over a Wi-Fi network for cableless operation, or
connect Force to your computer using an Ethernet cable for a more tightly controlled setup.
To get started with Ableton Live Control, you will need to follow the directions in the sections below to download, install
and configure the necessary and software.
Once the previous steps have been completed, you can begin controlling Ableton Live with your Force.
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Live Control Mode
In Ableton Live Control Mode, Force's screen will show a dynamic representation of the Ableton Live software.
To open Live Control mode, press Menu on your Force and then tap Live Control. Alternatively, hold Shift and
press Matrix.
To exit Live Control mode, press Menu on your Force and then select another mode. Alternatively, hold Shift and
press Matrix to return to Matrix mode.
Live Control Mode consists of three main views, which can be selected by tapping the tabs on the left side of the display:
Matrix View, Mixer View and Device Control View. Click the links to jump to that section.
In each of these modes, you will always have access to the following controls and functions on the display:
Tap a track name to select it.
Tap the stop icons at the bottom of the display to stop clips in the selected track.
Tap the Launch Quantize field (above the scene launch arrows) to set the Launch Quantize value.
Tap the Scene Launch arrows on the right side of the display to launch all clips in that row.
Additionally, Force's hardware controls are pre-mapped to give you hands-on control of parameters and functions. See
Control Map for the complete mapping.
Control Bar
At the top of the interface is the Control Bar. This toolbar can be configured to one of three presets based on typical
Ableton Live use cases in the Settings window.
To open the Settings window, tap the gear icon in the top-right corner of the display.
Use the Control Bar field to select one of the three preset configurations: Settings, Arrangement or Performance.
• Session: The Session View configuration is ideal for working in Ableton Live's 8x8 clip launch matrix.
Use the BPM field to adjust the tempo in Ableton Live.
Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo in
Ableton Live.
Tap the metronome icon to enable to disable the metronome in Ableton Live.
Tap the follow icon to turn following on or off. When set to on, your Ableton Live software display will move
along with playback to keep the current playback position in view. You can adjust the Follow Behavior in
Ableton Live's Preferences.
Use the Position field to select the playback position.
Tap the + icon to enable or disable MIDI Arrangement Overdubbing.
Tap the automation icon to enable to disable automation recording.
• Arrangement: The Arrangement configuration is ideal for working with Ableton Live's linear Arrangement view.
Use the BPM field to adjust the tempo in Ableton Live.
Use the Position field to select the playback position.
Use the Start field to select the Arrangement loop start point.
Tap the loop icon to enable or disable Arrangement looping.
Use the Length field to select the Arrangement loop length.
• Performance: The Performance configuration is ideal for real-time performance with Ableton Live.
Use the BPM field to adjust the tempo in Ableton Live.
Tap the Phase Nudge Down and Phase Nudge Up icons to temporarily decrease or increase the tempo in
Ableton Live.
Use the Quantize To field to set the time division for quantization: 1/4, 1/8, 1/8T, 1/8 and 1/8T, 1/16, 1/16T, 1/16
and 1/16T or 1/32.
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Matrix View
The Matrix View provides an overview of the clip matrix from Ableton Live's Session view, displaying up to eight tracks
and eight rows of clips. The tracks displayed on Force will be shown in Ableton Live with a colored box outline.
Use the cursor buttons to move the Matrix view by one row or column at a time.
Press the Master button to select the Main Output track. This will also bring the Main Output and Sends tracks into
view if they are not already.
All tracks, clips and scenes will display the same color and names as assigned in Ableton Live. The clip launch pads on
Force will also change color depending on the playback or recording state:
When a clip is stopped, it will display the color set in Ableton Live on both the hardware pads and display.
When a clip is playing, the hardware pad will blink green, and the clip on the display will fill with white based on the
clip length.
When a clip is preparing to record, it will flash red on both the hardware pads and display until the launch quantization
value is reached.
When a clip is recording, it will blink red on the hardware pads and be lit red on the display.
You can also access the following controls and features by tapping the buttons at the bottom of the display:
Tap Quantize at the bottom of the screen to quantize the currently selected clip according to the Quantize To value
(set in the Ableton Live Control Settings).
Tap Delete at the bottom of the screen to delete the currently selected clip.
Tap Insert Scene at the bottom of the screen to insert a new scene after the currently selected clip.
Tap Rec at the bottom of the screen to enable or disable Ableton Live's Arrangement Record. Use this to capture
your Session performance into the Arrangement view.
Mixer View
The Mixer View gives you control of Ableton Live's key mixing features, such as levels, stereo panning, sends and returns
and more. Use the tabs at the bottom of the display to select what information is shown on Force's display.
• Levels: The Levels tab gives you an overview of the volume level of your tracks, including the Returns and the Main
Output track.
Tap a level slider and then use the data dial or –/+ buttons to adjust the volume level of the currently selected
track, return or main output. 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.
• Main: The Main tab gives you a full channel strip with a number of mixing options for your tracks.
Tap the track activator (under the track name) to enable or disable (mute) the track.
Tap the S button to solo the track.
Tap 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 main output. Alternatively, tap
and drag the pan slider to adjust the panning. 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 main output. 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.
• Sends: The Sends tab gives you an overview of the Send and Return controls in Ableton Live.
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. Alternatively, tap and drag the send knob to adjust the send level.
Tap the A or B icons to assign the track to the Ableton Live's A or B cue mix.
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Device Control View
The Device Control View allows you to control MIDI Instruments, Audio Effects and other Devices in Ableton Live directly
from your Force. The current view of the Device Control Tab is determined by the "blue hand" remote control icon in
Ableton Live's Detail View.
Tap the Track Name under the Control Bar to select the Track. If there is a Device(s) associated with the Track, the
first will be shown below.
Tap the lock icon on the right side to lock parameter changes to the device.
Use the sliders to adjust the parameters of the device. Tap a slider and then use the data dial or –/+ buttons to adjust
the parameter. Alternatively, tap and drag a slider to adjust the parameter.
Use the Device – and + buttons to change devices on the same track. The white and grey boxes below the parameter
sliders represent the number of available Devices.
Use the Bank – and + buttons to cycle through banks of controls for the device, if available. For internal Ableton Live
plugins, you will see the name of the current bank. For third party plugins, you will see the number of the current bank.
Tap Device On to enable or disable (bypass) the device.
Control Map
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Basic Controls
1 Display In Ableton Live Control Mode, Force's display will show a dynamic representation of
Ableton Live's software.
9 Shift Hold this button to access secondary button functions. See Shift Controls for more
details.
10 Directional Cursors Moves the 8x8 Session Matrix by one row or one column. The clip slots currently being
controlled by Force's clip launch pad grid are shown in Ableton Live with a red border.
13 Assign A / Assign B Press and hold one of these buttons and then press a Track Assign Button to assign the
track to one of Ableton Live's cue mixes.
14 Crossfader Controls Ableton Live's crossfader to blend between Cue Mixes A and B.
15 Knobs Adjusts the parameters displayed in the OLED screens above. Use the Knobs Button to
toggle between Knobs 1–8 (which control Track Level for the eight tracks currently
viewed) and Knobs 9–16 (which are mapped to control the device on the current track,
based on the location of the "blue hand" in Ableton Live's Detail View).
17 Clip Launch Pads Force's pads are fixed to clip launching in Ableton Live Control Mode.
19 Select Press and hold this button and tap a clip to select it without launching it
20 Copy Duplicates the selected clip into the next available clip slot.
22 Tap Tempo Tap this button at the desired rate to set a new tempo in Ableton Live.
23 Track Selectors Select one of the current eight tracks. The selected track will be highlighted white.
24 Mute Sets the Track Assign buttons to Mute for the current eight tracks.
25 Solo Sets the Track Assign buttons to Solo/Cue for the current eight tracks.
26 Rec Arm Sets the Track Assign buttons to Record Arm for the current eight tracks.
27 Clip Stop Sets the Track Assign buttons to Stop Clips for the current eight tracks.
28 Track Assign Performs the selected action (Mute, Solo, Rec Arm or Clip Stop) for the current eight tracks.
29 Master Selects the Main Output track and Sends. Press again to return to the previously selected
track.
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Shift Controls: Press and hold Force's Shift button, and then press the following buttons for additional actions:
10 Directional Cursors Moves the 8x8 Session Matrix by eight rows or eight columns.
23 Track Selectors Sets the Global Launch Quantization to the value shown beneath the corresponding
button. The current value will be lit white while Shift is held.
31 Quantize Quantizes the currently selected clip to the grid value set by Force. To set this value, tap
the Setting gear icon in the top-right of the display, then use the Quantize To field to
set the value.
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Updates in Force 3.0.5
New Features
Arrange Mode
Force now includes Arrange Mode, a fully featured linear sequencer. With Arrange Mode, you can:
• Create an arrangement of a song against a linear timeline.
• Record your clip performance or live input (MIDI or Audio) into a linear timeline.
• Edit and arrange your song using Force's powerful Arrange Edit commands.
• Mixdown your song to a stereo audio file, or stem it as separate tracks.
• Experiment with different song ideas by launching clips against your linear arrangement.
• Edit a single track from your arrangement in the Arrange Mode pull-up track editor, Grid or List editors.
Getting Started
To enter Arrange Mode, press Menu and then tap Arrange. The event editor's Arrange, Grid, Clip and List views are
displayed as tabs in the top left of the screen to make it easy to jump between them.
The toolbar at the top of Arrange Mode lets you switch between the different edit modes as well as showing project and
timing information.
Use the Arrange, Grid, Clip and List icons to switch between the different Force modes.
Tap the automation icon to toggle between Read and Write. To disable or enable global automation entirely, press
and hold Shift and tap this icon.
Use the BPM field to adjust the tempo of the project.
Use the Bars field to set the length of the arrangement.
The time counter at the top of the screen indicates the current playhead position. Double-tap this field to open the
Locate Popup.
Tap the pencil icon to open the Arrange Edit window.
Tap the gear icon to open the Grid Settings.
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The project's tracks are displayed in Arrange Mode on a linear timeline. Each track header will show Record Arm, Track
Automation and Crossfader Assign states. Note that this requires the vertical zoom to be adjusted so there is enough
space to show all components. Use the pinch and expand gestures to change the zoom level of the arrangement.
To open the Timing Correct window, tap TC at the bottom of the screen. Alternatively, tap the timing correct value
shown above the track headers. See General Features > Timing Correct (TC) to learn about this.
To enable or disable MIDI record erasing in Arrange Mode, tap the MIDI Rec Erase button at the bottom of the screen.
When enabled, the new recording will replace existing MIDI data in the arrangement. When disabled, recording MIDI will
overdub on existing MIDI data in the track arrangement.
To enable or disable loop, tap Loop at the bottom of the screen.
To return playback of all tracks to the recorded arrangement, tap the Back to Arrange button.
The Arrangement timeline also features six user-controllable Locate markers. Press and hold Shift to show the six Locator
buttons at the bottom of the screen.
To add a locator at the playhead position, tap one of the six Locator buttons. You can also use the Locate Popup
to edit these markers.
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To record a clip performance into Force's arrangement timeline:
1. You must first configure the Record button to point to the linear
arrangement rather than the clip matrix. You can set this by
doing either of the following:
• Hold Shift and press the REC button.
• Press and hold the REC button to open the Start
Recording Selector window, and then tap To
Arrangement.
2. Next, enter Arrange mode by pressing Menu and tapping Arrange.
3. Trigger a clip or scene to begin recording. As clips are triggered, Arrange Mode will draw regions containing audio
or MIDI data into the track lanes.
To move the playhead position, tap the Playhead Position field in the toolbar to select it, and then use the data dial or
-/+ buttons to adjust the value. Alternatively, you can set the playhead position by tapping in the lower-half of the timeline.
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Editing Arrangements
You can edit your linear arrangement using Force's powerful Arrange Edit commands.
To edit an arrangement, tap the pencil icon in the Arrange Mode toolbar to open the Arrange Edit window, and then
select one of the following tools.
The Clear function erases all events from the track and resets all of its
settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.
The Trim function immediately crops the arrangement to the Bars value
in the main Arrangement Mode window.
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The Transpose function transposes a range of events on a track in an
arrangement. The events within that range will shift accordingly in the
Grid View. This option is available for MIDI tracks only.
To select the track you want to transpose within the
arrangement, use the Track field.
To set the time range of the arrangement you want to
transpose, use the two sets of Bar, Beat, and Tick fields. The left
fields set the start of the time range, and the right fields set the end
of the time range.
For drum tracks, use the two Pad fields to select the “source” pad
(whose events you want to move) and “destination” pad (where the
events will be placed). Tap each field and then press the desired pad.
For keygroup tracks, plugin tracks, and MIDI tracks, set the
range and amount of transposition:
Range: Use the two Note fields to set the range of notes of the
events you want to transpose. Note events within this range will
be transposed, while note events outside of this range will
remain unchanged.
Transpose: Use this field to set how many semitones up or
down you want to transpose the note events.
To confirm your choice, tap Do It.
To cancel and return to the previous screen, tap the X, Cancel,
or anywhere outside the window.
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The Copy Bars function copies a range of bars from the arrangement
and adds them at a specified point.
To set the range of bars to copy from the arrangement, use the
First Bar and Last Bar fields.
To set where you want to add the copied bars, use the After Bar
field. The copied bars will be inserted after this one.
To set how many instances of the copied bars you want to add,
use the Copies field.
To overwrite the arrangement at the destination, tap Replace.
To add the events to the destination without erasing anything,
tap Merge.
To cancel and return to Arrange Mode, tap Cancel.
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In Arrange Mode, you can tap and hold on the header for an audio track (on the left side of the screen) to open a drop-
down menu of Track Edit options for audio tracks.
The Clear function erases all events from the track and resets all of its settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.
The Copy Track function immediately duplicates the selected track to a new track.
The Copy Events function copies selected audio track regions from the
track and adds them to another at a specified point.
To select the “source” track, use the From Track field. This is the
track whose content you want to copy.
To set what content is copied, use the field below the From Track
field. Copy All Events will copy and paste all events in the track.
Copy Only Selected Events will copy and paste only the events
that are currently selected.
To set the time range of the events or the audio track you want
to copy, use the Bar, Beat, and Tick fields. The left fields set the
start of the time range, and the right fields set the end of the time
range.
To select the “destination” track, use the To Track field. This is
the track where the content of the source track will be copied.
To set where you want to add the copied events or audio track,
use the Bar, Beat, and Tick fields. The events or audio track will be
added after this point.
To set how many instances of the copied events or audio track
you want to add, use the Copies field.
To overwrite the arrangement at the destination, tap Replace.
To add the events to the arrangement at the destination
without erasing anything, tap Merge.
To cancel and return to Arrange Mode, tap Cancel.
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The Reset Channel Strip function immediately:
• clears all Insert effect slots;
• turns Mute, Solo, automation, and Monitor off;
• resets the pan knob to the center;
• resets the level slider to 0.00 dB; and
• turns the Record Arm button off.
The Bounce to Sample function immediately renders the track as an audio sample and places it in the project’s sample
pool. By default, it will be named Bounce - and appended with the track name.
The Flatten Track function immediately renders all edits and regions within the current track's arrangement to a new
audio file.
The Flatten Track Elastique function also immediately renders all edits and regions within the current track's
arrangement to a new audio file, but renders any time-stretching or pitch-shifting using the Elastique Pro algorithm,
providing higher-quality results with less artifacts than Force's standard algorithm.
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You can also tap and hold on the header for a MIDI track (on the left side of the screen) to open a drop-down menu of
Track Edit options for MIDI tracks.
The Clear function erases all events from the track and resets all of its
settings.
To confirm your choice, tap Clear.
To return to the previous screen, tap Cancel.
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The Double-Speed Events function immediately halves the lengths of all note events on the track in the arrangement
as well as the distance between them. In other words, the track’s notes are pressed closer together so the track 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 on the track in the arrangement as
well as the distance between them. In other words, the track’s notes are spread further apart so the track sounds like it
is playing at half of the previous speed. This does not actually affect the pitches of notes or the tempo.
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 track 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.
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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
track, use the Density (%) slider.
To set how widely or narrowly the rhythmic patterns of the
generated notes vary, use the Rhythm Variation slider.
The Bounce to Sample function immediately renders the track as an audio sample and places it in the project’s sample
pool. By default, it will be named Bounce - and appended with the track name. This function does not work for MIDI or
CV tracks.
The Bounce to Audio Track function immediately renders the track as an audio track in the project. By default, it will be
named Audio and appended with a number (e.g., Audio 002). This function does not work for MIDI or CV tracks.
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Arrangement Track Editor
When in Arrange Mode, events from the currently selected track can be edited using the bottom panel track editor.
To open the track editor, do either of the following:
• Tap the arrow up icon at the bottom of the screen.
• Double-tap inside a track lane in the main arrangement view.
Once opened, you can also adjust the height of the track editor by tapping and dragging the arrow icon or anywhere in
the editor toolbar.
For drum tracks, you can tap and hold on a pad header in the track editor to open a drop-down menu where you can
quickly Mute, Solo, or change the Color of the pad.
To close the track editor, tap the down arrow icon.
At the top of the Track Editor are two tabs, Grid and Auto. Use the Grid tab to edit MIDI events or audio regions. Use the
Auto tab to edit automation for the track. The editing workflow in the arrangement track editor is the same as in the Clip
Editor, except that the arrangement track editor is fixed to editing the arrangement event list, whereas the clip editor
follows the currently selected clip or arrangement event list.
To edit a track from your arrangement using Clip Edit Mode, make sure the arrangement is playing and the desired
track is selected (you can check this by making sure the Back to Track icon is not displayed on the selected track).
Then, open Clip Edit Mode to edit the arrangement track.
Press and hold Shift to view additional editing options for the Track Editor.
To select all events, tap Select All.
To cut the selected events, tap Cut.
To copy the selected events, tap Copy.
To paste the selected events at the playhead location, tap Paste.
To delete the selected events, tap Delete.
To duplicate the selected events, tap Duplicate. The events will be added after the last selected event.
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Locate Popup
Force now includes a popup window for the Locate function, allowing you to quickly jump to specific points in your project.
To open the Locate popup, double-tap the Bars:Beats:Ticks field in the toolbar.
To close the Locate window, tap Close, the X in the upper-right corner, or anywhere outside the window to return
to the arrangement.
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Saving and Exporting the Arrangement
To save and export your arrangement, press the Save button, and then select Audio Mixdown. In this window, you
can mixdown or stem your arrangement into individual files.
To set the time range that you want to mixdown, use the Start Bar and End Bar fields under Audio Length. You
can add a number of seconds to the end of the mixdown to capture any ringing notes or effects (such as a reverb tail)
by adjusting the Audio Tail field.
To set the parameters for the audio mixdown, use the fields under Render Source and Render Options. Check
the Separate Tracks box to render each track of the arrangement as stems.
To configure the audio mixdown file settings, use the fields at the bottom of the screen to set the File Format, Bit
Depth, and Sample Rate.
You can also export the arrangement as a clip row in an ALS file to use with Ableton Live.
To save the arrangement as a clip row, press the Save button and tap Ableton Live Set to bring up the Ableton
Live Set Export popup, and then select the Export Arrange as Clips option.
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MIDI Improvements
Force now supports multi-MIDI control, making Force the ultimate MIDI sequencing studio centerpiece. In addition to
getting the most out of the MIDI DIN ports on your Force hardware, you can now use your hardware's USB ports to
connect class-compliant MIDI devices such as USB keyboards, MIDI interfaces and USB-to-CV modules, allowing you to
dramatically increase the MIDI input and output capabilities of Force.
Note: To use multiple USB MIDI devices with standalone Force, we recommend using a high-quality, powered USB hub.
Configuring MIDI
To configure the MIDI Inputs and Outputs, go to Preferences > MIDI / Sync.
The Input Ports section displays all available MIDI input ports in a list. Double-tap the keyboard icon to rename a port
to a custom name. This is particularly useful when using multiple devices connected to a single MIDI interface or hub, as
you can name the ports according to the devices connected to them. The custom port names will be reflected throughout
the internal software.
Next to each MIDI input port are the Global, Control, and Track buttons:
• When Global is enabled, MIDI data from this port will always go to the current track. The Force Pads are an
example of a device that is always Global.
• When Control is enabled, MIDI data from this port will be sent to MIDI Learn.
• When Track is enabled, this MIDI port will appear in the list of available track MIDI Inputs.
The Output Ports section displays all available MIDI output ports in a list. Double-tap the keyboard icon to rename a
port to a custom name.
Next to each MIDI output port are the Sync and Track buttons:
• When Sync is enabled, the MIDI output port will send MIDI sync messages according to the type set in the
Preferences menu under MIDI / Sync > Sync Send > Send.
• When Track is enabled, the MIDI output port will appear in the list of available track MIDI Outputs.
By default, the Track Enable Ports When Discovered option is set to On so that when any MIDI device is plugged in,
the Track option is automatically enabled so the ports can be selected as an available MIDI input or output.
Note: The controls of some MIDI devices may be automatically mapped to certain Force controls, such as MIDI CC#7:
Volume being mapped to MIDI volume when using a MIDI track. This may cause unintentional changes when adjusting
the controls. To avoid this, you may need to reassign the affected MIDI CC on your controller. MIDI assignments can be
viewed in Macros mode by viewing the MIDI Mode controls.
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To configure the MIDI Input and Output for a track, do either of the following:
• In Matrix mode or Arrange mode, double-tap the track header for a MIDI track to open the Track Settings window.
Use the MIDI Routing options to set the MIDI Input Port and Channel, the MIDI Send track where the MIDI is sent,
and the MIDI Monitor status.
• In Mixer mode, select the I/O tab to view the MIDI track channel strip.
You can now also send MIDI from one track to another to layer two or more sound generators. For example, to layer two
plugin instruments:
1. Press the Mixer button to open the Mixer, or press Menu and tap Mixer. Then, select the I/O tab.
2. Create a new Plugin track by tapping the + button to the right of the last created track. Select a plugin instrument
and preset.
3. Create a second new Plugin track by repeating the steps above. Select a new plugin instrument and preset.
4. In the first plugin track's channel strip, use the Send To field to select the second plugin track.
5. Now, any note input or MIDI from the first plugin track will automatically be sent to the second plugin track as well,
giving you a quick and easy way to layer two sounds.
This can also be done in Matrix mode by double-tapping the track headers to open the Track Settings window.
MIDI Recording
For recording, MIDI Tracks now have an Input Monitor button with four states:
• Off: The track's MIDI input is not monitored, and playback of recorded events will be heard. This setting is useful
when using keyboards with Local Control active.
• In: The track's MIDI input is always monitored regardless of the track's Record Arm state, and playback from
recorded events will not be heard.
• Auto: The track's MIDI input is monitored when the track is record armed, and playback of recorded events will
be heard.
• Merge: The track's MIDI input is always monitored, and playback of recorded events will be heard.
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Macro Controls
Force's Knobs mode has been renamed Macros, and you can now use it to assign multiple parameters to the knobs,
pads, screen and crossfader, making Force the ultimate control surface for interacting with all the automation parameters
in your project. This section also includes an envelope follower, which allows you to use an audio signal such as a kick
drum as a control signal to create side-chain or modulation effects.
Getting Started
Use the tabs at the bottom of the screen to select a control to assign parameters to: Knobs, Crossfader, XY Pad, Pad
Grid, or Env Follower.
The left side of the screen shows the selected control. Use the Mode field at the top to switch between the different
modes for each control.
The right side of the screen shows the parameters assigned to the selected controls, and the tools for adding and editing
these parameters.
The yellow Learn button at the top right of the screen is used to add parameters to a control in user assignable modes.
To learn macro assignments:
1. Enter Macros mode.
2. Select a macro control type by tapping one of the buttons
at the bottom of the screen: Knobs, Crossfader, XY Pad,
Pad Grid or Env Follower. See the following sections for
more information on each control type.
3. Select the desired mode for the control by using the Mode
field at the top of the screen. See each following section for
explanation of the available modes for each Macros
control.
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4. When one of these modes is selected, the yellow Learn button and the learn add (+) button will appear on
the screen. To learn a single parameter to the control, tap the yellow Learn button so it is highlighted. The
OLED screen above the selected knob will show LEARNING….
5. Next, navigate to the mode that displays the parameter you would like to learn, and then adjust that parameter.
The screen will show a message, "Learned [parameter] to [macro control]."
6. To lock in the assignment, return to Macros mode and tap the yellow Learn button again. The assigned
parameters will be shown when the macro control is selected.
To learn multiple parameters to a macro, simply navigate to more parameters while Learn is engaged (step 4).
To learn another parameter to a macro that replaces the previous parameter, tap the down arrow next to the
yellow Learn button, and then uncheck the Add box. Repeat the steps above to replace the previously learned
parameter with a new one.
To learn a new parameter while also setting it to a range of values, tap the down arrow next to the yellow Learn
button, and then check the Range box. While Learn is engaged (step 4 above), adjust the parameter to the low and
high points of the value range that you want to control. When the assignment is locked in, the macro will control the
parameter in the set value range.
To use a single macro to, for example, mute/unmute multiple tracks at the same time, tap the down arrow next
to the yellow Learn button, and then check the Toggle box. Repeat the steps above to learn a parameter, which will
toggle on/off when the control is touched or moved.
To use a macro to send the max value of a parameter, tap the down arrow next to the yellow Learn button, and
then check the Trigger box. Repeat the steps above to learn a parameter, which will send its maximum value when
the control is touched or moved.
Alternatively, you can add parameters by tapping the learn add (+) button, and then using the menu that appears to select
a parameter from your project.
Use the Momentary button to set the behavior of the macro. When
highlighted, the selected Macro will only be enabled momentarily when
the control is touched or moved. When deselected, the selected Macro
will toggle on and off when the control is touched or moved.
Tap the arrow next to Momentary to adjust additional settings for when
the macro control is released.
To revert the macro parameter(s) to its minimum value on
release, check the Go to Minimum box.
To revert to the last value state before the macro was changed
on release, check to Go to Previous box.
To rename a macro, tap the keyboard icon in the toolbar, and then use the keyboard to enter a new name.
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Editing Macro Assignments
Under the toolbar, the right side of the screen is split into two areas: at the top, the parameters that have been learned to
the macro are shown; at the bottom, the collapsible parameter inspector displays the settings for the currently selected
learned parameter.
You can also quickly edit macro controls using the hardware Edit Buttons:
To edit an existing macro, press and hold the Edit button and then select the macro.
To copy and existing macro to a new macro, press and hold Copy to copy the source macro. Then, tap or press
the control where you would like to paste the macro assignment.
To delete an existing macro, press and hold Delete and tap or press the macro control.
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Knobs
In the Knobs tab, you can learn any automation parameter from within
your project to Force's knobs, each with their own range and polarity.
To enter Knobs mode, do either of the following:
• In Macros Mode, tap the Knobs button at the bottom of the
screen.
• Press and hold Edit and then tap a knob.
Use the Modes field at the top left of the touchscreen to select the Knobs
mode to edit. The following modes in this tab are not editable as macros,
but you can view their current assignments on this page: Volume, Pan,
Send 1–4, MIDI and Screen.
In addition to these modes, the following modes can be used to assign
parameters to the knobs as macros: Project 1–2, Track and Track FX
Rack.
Crossfader
In the Crossfader tab, you can learn any automation parameter from
within your project to Force's Crossfader.
To enter Crossfader mode, do either of the following:
• In Macros Mode, tap the Crossfader button at the bottom of
the screen.
• Press and hold Edit and then press Assign A or Assign B.
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XY Pad
In the XY Pad tab, you can learn any automation parameter from within
your project to one of four assignable XY Pads.
To cycle between the four available XY Pad assignments, tap
the XY Pad tab.
Use the Mode field at the top left of the touchscreen to select the part
of the XY Pad that you would like to assign parameters to. This
functions like a collection of different macros, allowing you to assign
parameters to the X-Axis, Y-Axis, Columns 1–8, Rows 1–8, or even
different to the axes of the Quadrants in the XY Pad.
Use the Full Screen button to make the current XY Pad fill the entire
screen.
Pad Grid
In the Pad Grid tab, you can learn any automation parameter from
within your project to Force's pad matrix. Assigning automation
parameters to the pads gives you a more performative way of
controlling effects and mixer parameters. For example, you can assign
a pad to mute a group of tracks, or to toggle insert effects on and off.
Use the Mode field at the top left of the touchscreen to select the pad
Bank to assign parameters to.
Use the Full Screen button to make the current pad Bank fill the entire
screen.
To access the Pad Grid macros directly from the hardware, do any of the following:
• Press and hold the Knobs button, and then press the Launch/Config button to split the pad matrix between
launching clips and triggering the Pad Grid macros.
• Press and hold the Knobs button, and then press the Notes/Config button to split the pad matrix between playing
notes and triggering the Pad Grid macros.
• Press and hold the Knobs button, and then press the Launch/Config and Notes/Config buttons at the same
time to split the pad matrix between launching clips in the top quadrants and playing notes and triggering the Pad
Grid macros in the bottom quadrants.
When the Pad Grid macros are active in the pad matrix, you can use the Edit buttons to edit, copy and delete macros
from these controls directly from the hardware.
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Envelope Follower
In the Env Follower tab, you can use an audio signal (such as a kick
drum) as a control signal to create side-chain or modulation effects.
Use the Envelope Source field to select the audio signal that will be
used as the control signal for the envelope. This can be audio from a
track, or, if you choose a Drum track, audio from a specific pad. You
can also select the Returns, Submixes, and Main Output tracks, as
well as dedicated LFO (low frequency oscillator) shapes.
After selecting the Envelope Source, you can use the additional fields on the left side of the touchscreen to configure the
envelope parameters. The available parameters when a track, pad or keygroup is selected as the Envelope Source are as
follows:
Use the selector below the Envelope Source field to set where the envelope is applied:
• Input: The envelope is applied at the audio input source. This option is not available for individual Pads or
Keygroups.
• Pre-Inserts: The envelope is applied before any insert effects.
• Post-Fader: The envelope is applied at the end of the channel strip after any insert effects and after the set
volume level.
• Playback: The envelope is applied on playback of the selected track. This option is only available for MIDI
and CV tracks.
Use the knobs below the envelope selector to adjust the parameters of the envelope. Tap the arrows to move between
the pages of parameters when applicable.
• Gain (%) adjust the amount of gain applied to the envelope.
• Delay (ms) adjusts the amount of delay in milliseconds after which the envelope is triggered.
• Gate (%) adjusts the amount of gate applied to the envelope.
• Hyst (%) adjusts the level at which the gate closes after opening.
• Attack adjusts the amount of attack for the envelope gate. This can also be adjusted by tapping and dragging
the A handle in the envelope display.
• Decay adjusts the amount of decay for the envelope gate. This can also be adjusted by tapping and dragging
the D handle in the envelope display.
When LFO is selected as the Envelope Source, the available parameters are as follows:
Use the selector to configure how the LFO is applied to the envelope. Select Free-Running for the LFO to continue
even when not triggered, or select Reset On Play for the LFO to revert to its starting configuration when triggered.
Use the knobs below the selector to adjust the parameters of the LFO:
• Freq (Hz) adjusts the frequency, in Hertz, of the LFO.
• Phase (º) adjust the starting phase of the LFO.
• Level (%) adjusts the amount of LFO applied.
When the LFO envelope is engaged, you will see a representation of the LFO signal.
Once you have configured the envelope follower source, use the right side of the screen to select the parameter(s) that it
will modulate using the same directions as above.
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Project Pull-Down Menu
You can now easily access key Force project parameters in any mode by using the project pull-down menu.
To open the project pull-down menu, tap and drag from the middle-top of the screen. The menu can be set to two
sizes depending on how far down you drag your finger.
To close the menu, simply swipe it back upwards to the top of the screen.
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16 Levels Drum Note Mode
You can now use classic MPC-style 16 Levels control when using Note
mode with a Drum track. In 16 Levels Drum Note Mode, the bottom-left
quadrant of clip launch pads can be used like a traditional 4x4 drum
pad layout just like Drum Note Mode. The other three quadrants,
however, can be set to control a selectable parameter that is fixed at
values that increase as the pad numbers increase (e.g., Pad 1 is the
minimum, Pad 16 is the maximum), regardless of how hard you press
them.
To enter 16 Level mode, select a drum track and press Note until
16 Level appears on the screen.
While in 16 level mode, press and hold Shift and press the Note/Config
button to open the Drum Note Configuration window. In addition to
the standard Drum Note Configuration settings mentioned above, you
can use this to adjust what the 16 level quadrants control.
Use the Top Left, Top Right, and Bottom Right fields to set what
type of 16 Level control is used in each quadrant:
Velocity: The sample velocity increases from lowest (7) to
highest (127).
Tune: The sample tuning increases from the lowest pitch to
highest pitch. By default, the first pad in the quadrant is the
base pitch and the next 12 pads increase by one semitone
each. Use the Transpose field to transpose the original sample
down up to 12 semitones for increased range.
Filter: The cutoff value for the filter increases from lowest to highest. You can set the filter type for the pad in
Track Edit mode.
Layer: Each row of four pads covers a range of velocity from lowest to highest: 0-31, 32-64, 65-96 and 97-127.
Pads with multiple samples will play back each layer according to the Velocity Start and Velocity End settings
for each layer.
Attack: The attack envelope of the sample increases from lowest to highest.
Decay: The decay envelope of the sample increases from lowest to highest.
Copy Pads
You can now copy one or more pads from one drum track to another.
This process is available with other track editing processes in Grid and
Clip modes.
To show the Copy Pads window, tap the pencil icon in the
toolbar of Grid or Clip modes. After the Grid Edit window opens,
tap Copy Pads.
Use the Copy Type menu to select whether you want to copy
an individual Pad, a Bank of pads or a Range of pads. Use the
fields that appear to select the Pad, From Bank or Start/End
Pads that will be copied.
Use the From Track menu to select the track from which the
pads will be copied.
Use the To Track menu to select the track to which the copied
pads will be added.
Use the Pad, To Bank or Start Pad where the copied pads will
be added starting from.
Click Apply to confirm your setting, and then click Do It to copy
the pads or Cancel to return to the previous screen.
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Custom Progressions
You can now create custom Progressions based on the current MIDI track from your Force. This process is available with
other clip editing processes.
The Browser now features additional options for searching and sorting results.
Press the Load button to open the Browser, and then tap the gear icon
to open the Browser settings.
Check the Show file size box to include file size in the file details.
Check the Show modified date box to show the last date the file
was modified in the file details.
Check the Show create date box to show the date the file was
created in the file details.
Check the Search includes subfolders to enable recursive
searching. When this is enabled and a search term is entered, all
folders on the device will be searched.
Check the Hide system folders box to remove folders associated
with Force project files from appearing in the Browser.
You can also sort the search results by each column by tapping the column header. Tap the column header again to
change the direction of the results as shown by the gray arrow in the column.
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Additionally, you can now load saved FX Racks from the Browser.
1. Select the track where you would like to load the FX rack.
2. Open the Browser.
3. Tap the Places tab on the right side of the screen, and then select Force Documents > FX Racks.
4. Select the FX Rack and tap Load. The associated plugins will be added to the Inserts of the selected track.
Flatten Clip
You can now flatten an audio clip, rendering all the edits and regions
within the clip bounds to a new audio clip in a single audio file:
1. First, make sure you have stopped transport playback.
2. Open Grid or Clip modes, and then tap the pencil icon in the
toolbar to open the Grid Edit window.
3. Select Flatten Track to immediately render all edits and regions
within the current track's arrangement to a new audio file.
Select Flatten Track Elastique to also immediately render all edits
and regions within the current track's arrangement to a new audio
file, but using the Elastique Pro algorithm for any time-stretching or
pitch-shifting, providing higher-quality results with less artifacts
than Force's standard algorithm.
You can now import Ableton Live projects into your Force.
When loading an Ableton Live project, Force will attempt to import the following information:
• Launch Matrix Tracks/Clips to Tracks/Clips.
• Arrangement View Sequence to Arrange tracks.
• ALS Colors to Force Colors for pads.
• Audio Clips to Audio Clips (with Looping points, names, warp, volume, pan, pitch adjustment).
• MIDI Notes to MIDI Notes at 960 PPQ units, with looping points and names.
• Basic conversion of ALS Drum Rack to XPJ Drum Kit. Only one “Selection” is handled. A maximum of four velocity
variations per instrument.
• Basic conversion of ALS Impulse Instrument to XPJ Drum Kit.
• Basic conversion of ALS Sampler to XPJ Keygroup. (128 keygroup limit). Only one “Selection” is handled.
• Basic conversion of ALS Simpler to XPJ Keygroup.
• Plugin instrument tracks are converted to Force MIDI tracks.
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Mixer / Pad Mixer Improvements
In both the Mixer and Pad Mixer, the Inserts & I/O tab has been split into separate Effects and I/O tabs.
In the Effects tab, you can now add or edit an insert effect by tapping one of the four slots. The Inserts button above the
slots will open the traditional inserts overlay window.
You can also save and load FX Racks from a mixer strip. In the Effects tab, tap the Inserts button to open the insert
overlay. This window now contains three new icons to Load Factory FX Rack, Load User FX Rack, and Save FX Rack.
Alternatively, press the Save button and then tap Track FX Racks.
Retrospective Record
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Sample Edit Pad Controls
You can now use the Force's pads to audition samples and create slices in Sample Edit Mode.
To enable Sample Edit Pad Mode, tap the pads icon in the toolbar in Sample Edit Mode.
When in Trim Sample Edit Mode, the lower-left quadrant of pads can be used to audition certain parts of the selected
sample:
13 14 15 16
09 10 11 12
Play from Start Play to Start Play to End Play from End
(Note On) (Note On) (Note On) (Note On)
05 06 07 08
Play from Start Play to Start Play to End Play from End
(One Shot) (One Shot) (One Shot) (One Shot)
01 02 03 04
Play Sample (One Shot) (Pad 10) plays the sample once from the start point to the end point. Press the pad once to
play it.
Play Sample (Note On) (Pad 11) plays the sample once from the start point to the end point. Press and hold the pad
to play it, and release the pad to stop playing it. Alternatively, select the headphones icon in the upper-right corner,
and then tap and hold your finger on the waveform.
Play Loop Continuous (Pad 16) plays the sample repeatedly using the mode set by the Loop button (Forward,
Reverse, or Alternating; if the Loop button is off, the sample will loop forward repeatedly).
Play Loop (Pad 13) plays the sample repeatedly using the mode set by the Loop button (Forward, Reverse, or
Alternating; if the Loop button is off, the sample will loop forward repeatedly). Press and hold the pad to play it, and
release the pad to stop playing it.
Play to Loop Start (Pad 14) plays the part of the sample just before the loop point. Press and hold the pad to play it,
and release the pad to stop playing it.
Play from Loop Start (Pad 15) plays the sample from the loop point to the end of the sample regardless of the end
point. Press and hold the pad to play it, and release the pad to stop playing it.
Play All (Pad 9) plays the entire sample.
Pads 1–4 have the same respective functions as Pads 5–8, but Pads 1–4 play the sample part as “One Shots” (pressing
the pad once will play the entire part) while Pads 5–8 play the sample part as “Note Ons” (pressing the pad and holding
it will play the part; releasing it will stop playback):
Play from Start (Pad 1, Pad 5) plays the sample from the start point to the end point.
Play to Start (Pad 2, Pad 6) plays the part of the sample just before the start point to the start point.
Play to End (Pad 3, Pad 7) plays the part of the sample just before the end point to the end point.
Play from End (Pad 4, Pad 8) plays the part of the sample from the end point to the end of the sample.
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When in Chop Sample Edit Mode, you can use the lower-left quadrant of pads to add slices to the current sample or
trigger existing slices.
When the current Track is a Drum Program and Pad Sample Edit Mode is selected, you can use the lower-left quadrant
of pads to audition the current sample of the current pad, similar to using Notes mode with a Drum Program.
You can now configure the behavior of the Record Arm buttons by adjusting the Record Arm setting under Preferences
> Sequencer.
• In Single mode, selecting a different track will automatically arm that track and disarm all other tracks. This is the
default mode and is the same as previous Force releases. To arm multiple tracks to record in Single mode, hold
Shift and tap each track's record button.
• In Multi mode, you can tap any track's record button to add it to the group of armed tracks. This is useful when
doing multitrack recording.
Workflow Enhancements
You can now disable multiple Mute, Solo or Record Arm buttons by holding the Delete button and pressing one of the
Assign Mode Buttons.
You can now add the Slice parameter to automation for Drum and Keygroup tracks.
When the Master button is pressed, a notification now appears on screen temporarily to indicate whether the pads are
showing the Buses or project tracks.
The track automation buttons available in Mixer Mode now toggle between Read and Write states when tapped. To
turn automation off or on, hold Shift and tap the track automation button.
The Timing Correct (TC) window now has a convenient Global Timing Correct On/Off button.
You can now exclude a track from a scene launch. Double-tap the track header in Matrix mode to open the Track Settings
popup, and then select the Row Launch field. When this field is set to Exclude from row launch, the track's clips will
not launch when a scene is launched. This is useful when playing a full acapella track while triggering different clips
underneath.
In the Arpeggiator window, the Time Division field is now a radio selector, making it easier to use.
You can now merge samples and settings from two drums tracks together.
To show the Merge Pads window, tap the pencil icon in the toolbar of Grid or Clip modes. After the Grid Edit
window opens, tap Merge Pads.
Use the From Track menu to select the track from which the pads will be copied.
Use the Into Track menu to select the track to which the copied pads will be merged.
Check the Start on next bank box to merge the samples and settings at the start of the next unused bank.
Click Do It to merge the pads or Cancel to return to the previous screen.
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You can now configure the brightness of the Force's pads. Go to Preferences > Hardware and use the Pad Brightness
slider to adjust the intensity of the pads.
You can now select a single event or multiple events when using the Step Sequence pad mode.
1. Open Grid or Clip modes to view the Grid editor.
2. Press the Step Seq button to enter Step Sequence mode for the pad matrix.
3. Enter some note events into the sequence using the pads.
4. To select step event, press and hold Clip Select and tap one of the pads containing an event.
To select multiple step events, press and hold Shift and Clip Select at the same time, and then tap the pads
containing the events.
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Updates in Force 3.0.6
New Features
AIR DrumSynth
In each plugin, you can quickly enable or disable the built-in effects (Transient, Distortion, EQ and Compressor) while
viewing any of the tabs listed below by tapping the buttons on the right side of the touchscreen under FX.
Drum Sound
Use this tab to adjust the basic settings for the drum sound. You can also use the knobs on this tab to quickly adjust
up to eight parameters specifically chosen for each sound.
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Trans/Dist
Use this tab to adjust the settings for the Transient and Distortion effects.
EQ/Comp
Use this tab to adjust the settings for the EQ and Compressor effects.
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You can also use the DrumSynth:Multi plugin to access all
DrumSynth sounds from one plugin, which includes additional
dedicated effects and mixing controls.
Note: You can only have one DrumSynth:Multi plugin active
per project.
Send FX
Use this tab to adjust the settings for the Delay, Diffuser and Reverb effects.
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Mixer / FX / Sends
Use this tab to mix the individual drum sounds as well as control their effects. The Mixer / FX / Sends tab contains
three different views that can be accessed by tapping the tab at the bottom of the display.
Use the Mixer view to adjust the volume, panning, muting and soloing for each drum.
Tap the 1–8 icons to mute or unmute the selected drum.
Tap the S icon to solo the selected drum.
Tap and drag the pan slider to adjust the drum panning. Alternatively, tap the slider and use the encoder, or use
the appropriate knob in Screen mode.
Tap and drag the volume slider to adjust the drum volume. Alternatively, tap the slider and use the encoder, or
use the appropriate knob in Screen mode.
Use the FX view to enable or disable the Transient, Distortion, EQ and Compressor effects for each drum sound.
Tap the FX box to enable or disable the selected FX on the selected drum.
Use the Sends view to adjust the send levels for the Delay, Diffuser and Reverb Send FX.
Tap and drag the Send knob to adjust the send level for the selected effect on the selected drum. Alternatively,
tap the knob and use the encoder, or use the appropriate knob in Screen mode.
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Updates in Force 3.1
New Features
Disk Streaming
Audio files can now be streamed from disk instead of from memory.
Note: Disk streaming relies on the performance of the disk you are streaming from. For best operation, it is recommended
to use an SSD (solid-state drive) connected to Force’s internal SATA port. Once you have saved a project to your SSD,
your files will stream from that location. For an unsaved project, Force uses a temporary file location to stream audio files
from. Go to Preferences > Project Load/Save and set the Temporary File Location to your SSD for best results.
Once enabled, a sample can be set to stream from disk or memory. By default, Drum and Keygroup samples are loaded
into memory, as this works better for on-demand, rapid triggering of multiple, simultaneous voices.
When using files streamed from disk, sample lists such as those in Sample Edit Mode or Track Edit Mode can now be
grouped by Memory or Streaming status.
If a project is too large to be loaded into memory, Force now loads the project and displays the missing samples in the
Project window with a waveform with a red minus icon. Once enough memory has been freed up, the missing samples
can then be loaded from the Project window. Tap and hold on the sample name and then select Load To Memory from
the menu that appears.
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AIR Mellotron, AIR Solina and WayOutWare Odyssey
Your Force hardware now includes three new plugin instruments: AIR Mellotron, AIR Solina and WayOutWare Odyssey.
AIR Mellotron
Model
Use this tab to select a sound model and adjust its settings.
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AIR Mellotron (continued)
Flavor / Comp / EQ
Use this tab to adjust the settings for the flavor, compressor and EQ
effects. Each effect can be turned on and off by using the buttons on
the right side.
Vinyl Distortion Amount of vinyl distortion noise applied to the signal. 0–100%
Vinyl Noise Amount of vinyl noise such as clicks and pops applied to 0–100%
the signal.
Threshold Signal level after which the compressor will be applied. -30.0 – 0.0 – +10.0 dB
Makeup Amount of additional output gain for the compressed -20.0 – 0.0 – +20.0 dB
signal.
Low Mid Amount of attenuation or boost applied to the low-mid -20 – 0 – +20 dB
frequency band.
High Mid Amount of attenuation or boost applied to the high-mid -20 – 0 – +20 dB
frequency band.
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AIR Mellotron (continued)
Delay / Spring
Use this tab to adjust the settings for the delay and spring reverb
effects. Each effect can be turned on and off by using the buttons on
the right side.
Time Amount of time between the dry signal and the delayed 1/16 – 12/4
signal.
L/R Ratio Reduces the delay Time in either the Left or Right 50:100 – 100:100 –
stereo field. This is useful for creating offset, panned 100:50
delays.
Feedback Amount of signal fed back into the delay line. 0–100%
Reso LP Freq Low pass frequency for feedback resonance. 100 – 16000 Hz
Reso Bell Freq Center frequency for feedback resonance. 100 – 16000 Hz
Reso Bell Gain Amount of gain applied to the resonant frequency. 0–100%
Spring Reverb Use the button in the upper-right corner to enable or Off, On
disable the spring reverb effect.
Low Cut Center frequency for reverb signal low-cut filter. 20 – 1000 Hz
Width Stereo width of reverb signal. Higher values give wider 0–100%
stereo separation.
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AIR Solina
Ensemble
Use this tab to adjust the settings for the synth voices.
Voice Click each button to enable or disable the selected Contra Bass, Cello, Viola,
voice. Violin, Trumpet, Horn
Dual When enabled, both bass and upper voices will play Off, On
on every key, regardless of the octave. When
disabled, the voices will be split so that the bass
voices play on lower octaves and the upper voices
play on higher octaves.
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AIR Solina (continued)
Sound
Use this tab to adjust the settings for the synth voices.
Sustain Length of time for the sound to remain playing after the 0 ms – 32 s
key is released.
Velocity to Amp The amount of effect velocity has on amplitude control. 0–100%
Flavor
Use this tab to adjust the settings for the flavor and vinyl effects.
Vinyl Distortion Amount of vinyl distortion noise applied to the signal. 0–100%
Vinyl Noise Amount of vinyl noise such as clicks and pops applied to 0–100%
the signal.
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AIR Solina (continued)
Chorus / EQ
Use this tab to adjust the settings for the chorus and EQ effects. Use
the buttons on the right side to enable or disable each effect.
Tone Decreases or increases the brightness of the chorus effect. -100 – 0 – +100%
EQ Low Amount of attenuation or boost applied to the low frequency -12 – 0 – +12 dB
band.
Low Mid Amount of attenuation or boost applied to the low-mid -20 – 0 – +20 dB
frequency band.
High Mid Amount of attenuation or boost applied to the high-mid -20 – 0 – +20 dB
frequency band.
High Amount of attenuation or boost applied to the high frequency -12 – 0 – +12 dB
band.
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AIR Solina (continued)
Delay Time Amount of time between the dry signal and the delayed 1/16 – 12/4
signal.
L/R Ratio Reduces the delay Time in either the Left or Right stereo 50:100 – 100:100 –
field. This is useful for creating offset, panned delays. 100:50
Feedback Amount of signal fed back into the delay line. 0–100%
Spring Reverb Pre-Delay Length of time between dry signal and reverberated signal. 0 – 250 ms
Low Cut Center frequency for reverb signal low-cut filter. 20 – 1000 Hz
Width Stereo width of reverb signal. Higher values give wider 0–100%
stereo separation.
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WayOutWare Odyssey
VCO 1 / 2
Use this tab to adjust the settings for the voltage-controlled oscillators.
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WayOutWare Odyssey (continued)
MOD / ENV
Use this tab to adjust the settings for the low frequency oscillator,
sample and hold generator, and envelope generator.
LFO LFO Tempo Determines whether LFO speed is free floating or Off, On
Sync synced to project tempo.
LFO Speed Speed of the low frequency oscillator.
When Sync is Off: 0.0925 – 20.0000 Hz
When Sync is On: 4/4 – 1/64 beats
Sample/Hold Trigger Determines the source signal for triggering the LFO Trigger, Kybd Trigger
Sample and Hold mixer, either the Low Frequency
Oscillator or the pitched Keyboard output.
Source 1 Selects the VCO-1 waveform or pulse width Saw, Pulse
modulation as Sample and Hold input.
Source 2 Selects a noise generator or the VCO-2 pulse width Noise, Pulse
modulation as Sample and Hold input.
VCO-1 Level of the VCO-1 input. 0.0–100.0%
Depth Level of the noise or VCO-2 input. 0.0–100.0%
Trigger Source Determines the input source sent to the AR envelope KYBD Gate, LFO Repeat
generator.
When set to KYBD Gate, the envelope generator is
triggered by key input.
When set to LFO Repeat, the envelope generator is
trigger by the LFO pulse wave.
ADSR Attack Attack time of the ADSR envelope generator. 0.003 – 10.000 seconds
Decay Decay time of the ADSR envelope generator. 0.003 – 10.000 seconds
Sustain Sustain time of the ADSR envelope generator. 0.000 – 10.000 V
Release Release time of the ADSR envelope generator. 0.003 – 10.000 seconds
Trigger Source Type of input to trigger the envelope generator. KYBD Gate, LFO Repeat
Repeat When Trigger Source is set to LFO Repeat, select KYBD Repeat, Auto Repeat
KYBD Repeat for the LFO to trigger only when a key
is pressed, or select Auto Repeat for the LFO to
trigger automatically without key input.
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WayOutWare Odyssey (continued)
Mix / Filter
Use this tab to adjust the audio mixing and routing, as well as adjust
the voltage controlled filter, high-pass filter, and voltage controlled
amplitude.
Audio Mixer Noise/Ring Select the noise generator or ring modulation input Noise, Ring Mod
Mod for the mixer.
Noise/Ring Level of the noise generator or ring modulation into 0.0–100.0%
Mod Level the mixer.
VCO-1 Input Select the VCO-1 input type for the mixer. Saw, Pulse
VC Filter VCO-1 Filter Set the input source for VCO-1 filter modulation. KYBD CV, S/H Mixer or
Modulation Select KYBD CV to use key input as the source. Pedal
Source Select S/H Mixer or Pedal to use the Sample and
Hold generator or optional external pedal.
CV Modulation Level of VCO-1 filter modulation. 0.0–100.0%
Level
VCO-2 Filter Set the input source for VCO-2 filter modulation. S/H, LFO Sine
Modulation
Source
CV Modulation Level of VCO-2 filter modulation. 0.0–100.0%
Level
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WayOutWare Odyssey (continued)
Echo
Use this tab to adjust the settings for the tape echo effect.
Sync Enable to sync the Echo Time to the Global Tempo, or Off, On
disable to adjust the Echo Time by milliseconds.
Echo Mix Adjusts the wet/dry amount between the original sound 100% Synth – 50/50% –
and the echo. 100% Echo
Echo Time Amount of time between the dry signal and the delayed
signal. Use the slider or the Echo Time field to change the
value.
When Sync is Off: 0.02 – 5.00 seconds
When Sync is On: 1/64 – 4/4
Settings
Use this tab to adjust general settings such as voice count, portamento
and performance parameters.
Voice Count Number of voices available. When set to Duo, each VCO Duo, 2–4
controls a separate note.
Noise Type of noise used for the noise generator. White, Pink
Performance MW Vib LFO Amount of vibrato LFO applied by the mod wheel. 0.0–100.0%
Velocity
Depth
KYBD Filter Amount that the filter is tied to the pitch being played. 0.0–100.0%
KYBD Amp Amount that the amplitude is tied to the pitch being 0.0–100.0%
played.
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AIR FX Bundle
Your Force hardware now includes nine new insert effects, including a new AIR vocal effects suite, an improved AIR
Diffuser Delay, and more.
This is a delay line effect that is synchronized to your Parameter Value Range Default Value
session tempo and uses an adjustable amount of
diffusion to emulate the dissipation of echoes in Time
reverberant space. This updated version adds Low Sync Off: 1 – 1000 ms 161 ms
Cut, Width, Sync and Pan controls for expanded Sync On: 1/64 – 4/4 1/16D
flexibility. (including Triplet
and Dotted
variations)
Sync Off, On On
Width 0–100% 100%
Mix 0–100% (dry–wet) 40%
Feedback 0–100% 50%
Fdbk. Diffusion 0–100% 40%
Fdbk. High Damp 0–100% 35%
Low Cut 20.0 Hz – 1.00 kHz 20.0 Hz
Pan -100 – 0 – + 100% 0%
This is a distortion effect that can be used for Parameter Value Range Default Value
anything from adding subtle grit to drum breaks to
aggressive distorted mayhem. Input HP 200 – 800 Hz 500 Hz
Env Speed 0–100% 50%
Output HP 1000 – 4000 Hz 2000 Hz
Output LP 1000 – 12000 Hz 6000 Hz
Wide Off, On Off
Solo Off, On Off
Oversampling Off, On On
Level -inf – 0.0 – +12.0 dB 0.0 dB
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AIR Half Speed
This effect can quickly create half-speed versions Parameter Value Range Default Value
from any input material. Filter the processed audio
using the built-in high pass and low pass filter to Start, Stop
create dramatic transitions, and use the fade in and Loop Length 1/16 – 4 Bars 1 Bar
fade out parameters to create synchronized
transitions between dry and effected audio. Mode *1.5, *2, *4 *1.5
Mix 0–100% 100%
Loop Fade 1.00 – 200 ms 1.00 ms
Hard, Soft, 1/16–4
Fade In Hard
Bars
Hard, Soft, 1/16–4
Fade Out Hard
Bars
HPF Off, 21.3 Hz – 20.0 Off
kHz
LPF 20.0 kHz – 19.9 Hz, Off
Off
Band Off, On On
AIR Limiter
This is a lookahead limiter perfect for mastering or Parameter Value Range Default Value
mixing.
Gain -12.0 – 36.0 dB 0.0 dB
Ceiling -24.0 – 0.0 dB 0.0 dB
Look Ahead 0.0 – 20.0 ms 0.0 ms
Release 10.0 ms – 10.0 s 316 ms
LF Mono 10.0 Hz – 1.00 kHz 10.0 Hz
AIR Stutter
This effect creates mind-blowing glitch effects using Parameter Value Range Default Value
a wide range of volume, pan and pitch stutter
effects. Intervals 1/64 – ¼ 1/16
Sync Off, On On
Steps 2–64 5
Step Length 0–100% 100%
Freeze Off, On Off
Decay 50.0 ms – 100 s 6.99 s
Volume -12.0 – 0.0 – 6.0 dB -1.2 dB
Mix 0–100% 100%
Pan Mod 0–100% 50%
Pitch Mod -100 – 0 – +100% 0%
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Force now also includes a new AIR Vocal insert effects suite, designed to enhance working with voices in Force.
This effect creates realistic vocal doubles to add Parameter Value Range Default Value
width or thickness to a vocal line.
Voices 1–8 4
Stereo Spread 0–100% 70%
Lead Volume -Inf – +6.0 dB 0.0 dB
Doubler Volume -Inf – +6.0 dB 0.0 dB
Pitch +/- 0–250% +/- 38%
Pitch Speed 0–100% 75%
Timing 0–800 ms 63 ms
This effect can create up to four-part realistic vocal Parameter Value Range Default Value
harmonies and complex doubling effects. Each vocal
part has its own level, delay, formant, mode and Key A–G# C
interval parameters. Scale Major, Minor, Harm Major
Minor, Melo Minor,
Dorian, Phrygian,
Lydian, Mixo,
Locrian, Chromatic,
Penta, Maj Triad,
Min Triad, Root
Lead Volume -Inf – 0.0 dB 0.0 dB
Harmony Volume -Inf – 0.0 dB -2.5 dB
Timing 0–100% 42%
Tuning 0–100% 14%
Smooth 5–200 ms 8 ms
Voice Range Very Low, Low, Mid, Mid
High, Very High
Root Mode Split A–G# E
Reference 420.0–460.0 Hz 440.0 Hz
Delay Sync Off, On On
Harmony 1–4 Off, On 1 On
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AIR Vocal Tuner
This effect applies pitch correction for natural Parameter Value Range Default Value
sounding or hard-tuned vocal effects.
Detection Unworried, Default, Default
Selective, Picky,
Blind
Voice Range Very Low, Low, Mid, Mid
High, Very High
Key A–G# A
Scale Major, Minor, Harm Minor
Minor, Melo Minor,
Dorian, Phrygian,
Lydian, Mixo,
Locrian, Chromatic,
Penta, Maj Triad,
Min Triad, Root
Retune Time 1–1000 ms 32 ms
Reference 420.0–460.0 Hz 440.0 Hz
Sample Delay
This effect is a utility delay plugin that can delay the Parameter Value Range Default Value
left and right channels by different, small amounts to
loosen percussion elements or add stereo width. Left / Right 0–11025 Samples 0 Samples
or or
0.0–250.0 ms 0.0 ms
Samples / MS Samples, MS Samples
Link Off, On Off
Granulator
This effect turns your incoming audio into small grains Parameter Value Range Default Value
of sound that can be looped, pitch shifted, and
manipulated in new and interesting ways. Grain Density 1.0–300.0 150.0
grains/sec grains/sec
Grain Window 20.0–1000.0 ms 510.0 ms
Grain Length 10.0–200.0 ms 105.0 ms
Grain Feedback -99.9 – 0.0 – 99.9% 0.0%
Trigger 0–100% 50.0%
Randomization
Pitch 0–100% 50.0%
Randomization
Pitch -12.0 – 0.0 – 12.0 0.0 semitones
semitones
Fine -50.0 – 0.0 – 50.0% 0.0%
Stereo 0–100% 0.0%
Mix 0–100% 50.0%
Freeze Off, On Off
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Drum and Keygroup Track Improvements
Drum and Keygroup tracks have been significantly reworked to add more features and improve the ergonomics of the
editors. The Track Edit interface has been improved overall, and many new features have been added.
Sample Tail
Drum and Keygroup Tracks now include a Tail Length and Tail Start
parameters for adding extra audio tail to any chopped sample. This is
useful for things like making an abrupt end to a sample sound more
natural or adding experimental looping effects to a sample.
To adjust the tail of a sample:
1. Load a Drum or Keygroup Track.
2. Press Menu, and then tap Track Edit to open Track Edit mode.
3. Tap the Samples tab to open the first page.
4. Use the Tail Length parameter to enable the sample tail and
set its length.
5. Use the Tail Start parameter to set the starting point of the tail
for looping. Set this to smaller values for delay effects, or longer
values for more obvious looping effects.
Drum FX
You can now quickly add effects to samples in a Drum track by using the built-in Drum FX
To use the Drum FX:
1. Load a Drum Track.
2. Press Menu, and then tap Track Edit to open Track Edit Mode.
3. Tap the Effects tab twice to open the second page.
4. There are eight available Drum FX slots, each with an adjustable
parameter:
• Ring Mod • Rectifier
• Bit Crush • Bass Enhancer (Tight)
• Decimator • Bass Enhancer (Medium)
• Tube Drive • Bass Enhancer (Wide)
• Soft Clipper • Stereo Width
• Hard Clipper • Wave Folder
• Low Pass • Gain
• High Pass
5. Use the Type dropdown menu to select the effect in each slot and turn each knob to adjust the selected effect
parameter.
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Randomization
Drum and Keygroup tracks now have a Randomization section. You
can use this section to add subtle variation to drum samples or
keygroup tracks by randomizing parameters.
To adjust the Randomization parameters:
1. Load a Drum or Keygroup tracks.
2. Press Menu, and then tap Program Edit to open Program Edit
mode.
3. Tap the Samples tab until you reach the fourth page.
4. Use the knobs to adjust the available randomization
parameters for each layer: Pitch, Level, Pan, Sample Offset,
and Envelope (Attack, Decay, Cutoff, Resonance).
Use the Depth slider to control the amount of randomization
applied overall.
Other Enhancements
Drum and Keygroup tracks now have adjustable curve parameters for each time stage.
Drum and Keygroup tracks now have an adjustable Pitch envelope.
Drum and Keygroup tracks now have Note-Off as an available option for the Sample Play triggering parameter.
Keygroup tracks now have Portamento, Time, Quantize, and Legato parameters that can be controlled through track
automation.
You can now use most audio interfaces that are both USB class-compliant and Linux class-compliant with your
standalone Force. Audio devices must also be set to 44.1 kHz sample rate and 128 sample buffer size.
Note: If you are unsure of your audio interface’s compatibility, check with the original equipment manufacturer for more
information.
Bus Automation
You can now automate parameters on all buses (submixes, returns, main output tracks). The recording, playback and
editing of this automation follows the same workflow as all other automation.
You can create, record, or play clips containing automation data on bus tracks. In Clip Matrix Mode, press the Master
button to view the Returns and Output tracks, and then create a clip as normal. Double-tap on a bus track header to
open the Track Settings window, where you can rename the bus track, change the color of the track header, and set the
row launch behavior. You can then use the bus tracks like normal tracks to view, edit and input automation using the
Editors.
You can also record automation from these clips into Arrange mode and view, edit, and input automation data in your
arrangement.
FX Racks and FX Rack knob assignments will also now work on buses.
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Key Detection
Force now automatically calculates the key of melodic samples after being loaded.
To view the sample key, load a sample and open in it in Sample Edit or Track Edit modes.
You can now rename any control in a MIDI track. This lets you save the
MIDI track with renamed parameters and use it in any Force project.
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MIDI Learn
You can use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific Force
project:
• Mixer parameters such as volume, pan, mute, and solo for tracks, returns, submixes, and main outputs.
• Pad parameters (for drum tracks and clip tracks only) such as tuning, filter and amp envelopes, layer settings, LFO
settings, and velocity.
• Track parameters, which depend on the track type.
• Insert effects parameters, which depend on the effect type.
These assignments will be saved with your Force project.
To open MIDI Learn Mode, press Menu, and then tap MIDI Learn.
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To assign a parameter to a hardware control:
1. Tap Learn in the upper-right corner so it is on.
2. Tap + on the left side of the touchscreen to create an “empty” assignment (its Target menus will be set to None and
Off).
Alternatively, tap an assignment that is already in the list if you want to change it.
3. Move or press the desired control on your MIDI controller. The Type, Ch, and Data fields will be automatically
assigned.
4. Use the Source field to select a track, return, submix, or main output (for drum tracks and clip tracks, you can select the
entire track or a single pad within it). The Target menu will indicate the source you selected.
5. Use the Target menu to select the parameter. Your selection will be shown under Target in the list, as well.
The control on your MIDI controller will now control the Target parameter.
To assign more controls, repeat Steps 2–5.
To stop assigning controls, tap Learn again so it turns off.
To clear an assignment, tap it in the list, and then tap Clear in the bottom-left corner. Alternatively, follow the steps above
to reassign its Source field to None and assign its Target field to Off.
To clear all assignments, tap Clear All in the upper-right corner.
To delete an assignment (the entire slot), tap it in the list, and then tap Delete in the lower-right corner.
Workflow Enhancements
You can now filter files in the Browser to show only plugin instrument presets by tapping the plug icon.
You can now load MIDI files into your project using the Browser.
You can now show your Wi-Fi password in the Preferences menu.
When Loop is enabled, you can now press Shift+Start to set the playhead position to the Loop Start point.
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Updates in Force 3.2
New Features
Force now supports the MPC Instrument Collection of plugin instruments available for purchase for use with your
standalone device.
AIR OPx-4 is the brand-new four operator FM powerhouse, delivering the ultimate in FM synthesis sound shaping. The
instrument includes:
• Advance FM Synthesis: Four Operators, each capable of producing complex waveforms through feedback,
formant shaping, FM filtering and FM shaping parameters.
• Dual-mode filter path with 23 different filter types.
• Six envelopes with tempo-synchronized looping.
• Two LFOs and two Ramps.
• Three insert effect slots and two global effect slots, with a huge library of 27 AIR effects including reverbs, delays,
modulations, and distortions.
• Modulation Matrix with 32 slots.
• Sample layer for adding percussive attacks.
• Over 670 factory presets included.
AIR Stage Piano is the brand-new flagship acoustic piano instrument. With an elegant interface, you can tweak the sound
of each piano model to your taste by changing the dynamics, age, and formants of the piano timbre and adjust note
release samples and sustain resonance to increase realism. From the depth and richness of a concert grand to the upright
jazz feel of the most vibrant club, Stage Piano and its inspiration selection of carefully crafted presets are perfect for
capturing the moment. The instrument includes:
• Advanced acoustic piano sound engine
• Up to six velocity layers.
• Four multi-sampled acoustic pianos: Yamaha C7, Steinway D, Bechstein Upright, and Workstation.
• Sympathetic resonance.
• Hammer fall and staccato release layers.
• Equal and stretched tunings.
• Five built-in AIR effects: Flavor, Compressor, EQ, Delay, and Reverb.
AIR Stage EP is the brand-new flagship electric piano instrument, delivering the lush and rich sounds of the most desirable
electric pianos at your fingertips. Stage EP includes five detailed electric piano models, including acoustic mechanics and
an FM tine synth, to capture the magic and warm smoothness of the originals, while also adding the full spectrum of
modern and classic electronic sounds. This instrument includes:
• Advanced electric piano sound engine.
• Up to twelve velocity layers.
• Five multi-sampled electric pianos: Rhodes, Rhodes Hot, Suitcase, Wurlitzer, Pianet.
• Acoustic and FM mechanics layer.
• Seven built-in AIR effects: Chorus, Tremolo, Amp Sim, Compressor, EQ, Delay, and Reverb.
AIR Studio Strings is the brand-new orchestral strings instrument, bringing the rich and elegant sounds of orchestral,
chamber, and solo strings inside your Force. Create beautifully articulated masterpieces from a powerful sampled library
featuring combined and individual strings, including Violin, Cello, Bass, and Viola.
This instrument includes:
• Advanced four-part, sample-based string ensemble engine.
• Orchestral, chamber, and solo sample sets.
• Unique intelligent legato engine.
• Four built-in AIR effects: Flavor, EQ, Delay, and Reverb.
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AIR Organ is the brand-new organ instrument for Force, delivering advanced drawbar organ additive synthesis for every
musical occasion. With ten incredible tonewheel sets, all gathered from authentic vintage organs, and the award-winning
rotary speaker simulation from AIR DB33, AIR Organ will bring you a rich, expressive experience in a stunning user interface.
This instrument includes:
• Advanced drawbar organ additive synthesis engine.
• 10 different drawbar models sampled from vintage organs.
• Percussion layer and key click sounds.
• Scanner vibrato.
• Four built-in AIR effects: Rotary, EQ, Delay, and Reverb.
AIR Mini D is a four-voice poly synth based on the classic American synthesizer legend. A painstakingly-modeled
oscillator section includes eight authentic oscillator waveforms and multiple LFO shapes with 19 sections, including
ramps, sine, square, triangle, random, and steps. Ladder and modern style filters feature cutoff, resonance, and contour
controls, along with a dedicated feedback path. A built-in creative effects chain allows you to apply EQ, Chorus, and Delay
to further sculpt your sound. Over 400 presets are included, ranging from basses, leads, percussion, and synth FX.
The Fabric Series includes four new plugin instruments: Fabric XL, Fabric, Fabric Piano, and Fabric Electric Piano.
Fabric XL is the brand-new flagship sample-based synthesizer from AIR Music Technology and delivers the ultimate
sounds for all your production needs. Fabric XL brings a stunning collection of cutting-edge presets, including
everything from twisted and dark motion pads, drone and sub-basses, acoustic and electric guitars, acoustic and
electric pianos, classic poly and lead synths, and much more.
Fabric is almost identical to Fabric XL, but removes the largest sample keymaps to reserve less of your Force’s memory.
Fabric Piano and Fabric Electric Piano deliver the sonic characteristics of the flagship Stage Piano and Stage EP
instruments, respectively, but in less CPU-intensive forms. Each includes a comprehensive set of editing features and
built-in effects, such as the AIR Flavor effect for adding grit for a lo-fi sound.
To activate plugins:
1. Open the Preferences menu by pressing Menu, and then tapping the Preferences icon at the top of the screen.
2. You will need a valid internet connection to activate your plugins, so if you are not already connected, use the Wi-
Fi or Ethernet menus to select your network.
3. Tap the Activate Plugins option on the left side of the screen.
4. Tap the Log In button to log into your inMusic Profile. You can scan the QR code with a mobile device or open
the URL shown on the page in a browser of your choice. If you do not already have an account, you will be
prompted to create one.
5. Once you have been logged in, you can try out plugin instruments through a free trial, or activate your purchases.
To start a trial, tap the Start Trial button next to the desired plugin.
To register a purchase, use the Enter Serial field to enter your serial number and then tap Register.
To refresh the page with your latest purchases or activations, tap Refresh.
To activate a plugin on your device, tap the Activate button next to its name. Tap Deactivate to remove
the plugin activation from your device.
To download a purchase to your device, first tap the Change button at the bottom of the touchscreen to
select a Content Download Drive. This can be a connected SATA drive, USB drive, or SD card. Then, tap the
download icon to begin downloading the plugin to your drive. The download icon will change to show the
installation progress. Once the process is complete, you can use your plugin with Force.
To log out of your account, tap Log Out.
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Insert Effect Updates
Force now includes two new AIR insert effects: AIR Amp Simulation and AIR Flavor.
This effect simulates guitar and bass amplifiers with a Parameter Value Range Default Value
wide range of available cabinet models and tone
shaping options. Cab Model D.I., Brit, 1x8”, 1x12”, 4x10”
2x10”, 2x12”, 4x10”,
4x12”, 1x15” Bass,
4x10” Bass, Radio
Drive 0.0–11.0 0.0
Output -12.0 – 0.0 – +12.0 dB 0.0 dB
Soft Clip 0–100% 0%
Top Boost 0–100% 0%
Bias 0–100% 0%
Feedback 0–100% 0%
Bass -12.0 – 0.0 – +12.0 dB -12.0 dB
Mid -12.0 – 0.0 – +12.0 dB 0.0 dB
Mid Freq 250 Hz – 4.00 kHz 1.00 kHz
Treble -12.0 – 0.0 – +12.0 dB 0.0 dB
AIR Flavor
This effect applies EQ simulations of radios, phones, Parameter Value Range Default Value
tape machines, and more to dramatically change the
timbre of your sound. Timbre Varies Neutral
Timbre Depth 0–100% 100%
Vinyl Distortion 0–100% 0%
Vinyl Noise 0–100% 0%
Flutter 0–100% 0%
Monofy 0–100% 0%
Force is now also compatible with the AIR Flavor Pro plugin. Flavor Pro is the new flagship multi-effects plugin designed
to manipulate samples, melodies, loops, and instruments to the extreme for today’s modern lo-fi sound. At the heart of
Flavor Pro are six powerful effects modules, providing immense lo-fi control with unlimited possibilities. Add instant-color
effects such as pitch flutter, tape saturation and dropouts, distortion, drift, downsampling, and vinyl rumble, hum, pops,
and crackles. AIR Flavor Pro’s powerful multi-effects layout allows instant vintage magic and manipulation of your
production in a fast and creative way. For more information, thempcstore.com.
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Force now also includes Touch FX, a multi-effect plugin with ten different FX chain configurations, giving quick access to
beat-repeat, turntable, delay, filter, and modulation effects.
Use the controls on the left side of the Touch FX plugin window to adjust the settings for the Touch Strip control. You
can control the Touch Strip by assigning it to a MIDI control or by using the virtual touch strip on the touchscreen.
Touch Strip: This strip can be controlled manually by tapping and dragging from the touchscreen, or by assigning it
a MIDI control. Use this to control the selected Touch FX.
Touch Enable: Tap this box to enable touch control the currently selected Touch FX.
Assigned Parameter: Use this field to select a preset parameter to be controlled by the touch strip. This can be
separate from or in addition to controlling the Wet/Dry amount, depending on the Touch > Wet/Dry setting.
Touch Value: Use this slider to control the value of the Assigned Parameter controlled by the touch strip.
Wet Amount: Use this slider to set the blend the original signal (dry) and the effect signal (wet).
Touch Value / Wet/Dry Lock: Tap the lock icon to use the touch strip to control the Wet/Dry amount in addition to
the touch value of the Assigned Parameter.
Touch Attack: Use this slider to set the length of the attack phase of the envelope, which is triggered when you move
the touch strip control.
Touch Release: Use this slider to set length of the release phase of the envelope, which is triggered when you release
the touch strip control.
Use the controls on the right side of the Touch FX plugin window to select a Touch FX type and adjust its settings. You
can also select from the included presets at the top of the window.
Manual Filter
The touch strip controls a static, multi-mode filter without Parameter Value Range Default Value
modulation.
Cutoff 40.00–10000 Hz 2530.00 Hz
Resonance 0.00–1.00 0.50
Mode LowPass, LowPass
BandPass, HiPass
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Beat Sync Filter
The touch strip controls a multi-mode filter with its cutoff Parameter Value Range Default Value
frequency modulated by an LFO, which can be synced to
the project tempo. Cutoff 40.00–10000 Hz 34737.15 Hz
Resonance 0.00–1.00 0.50
Manual Speed Off, 0.10–50.00 Hz Off
Depth 0.0–100.0% 50.0%
Mode LowPass, BandPass
BandPass, HiPass
Shape Ramp Up, Ramp Ramp Up
Down, Triangle,
Sine, Square,
Random1,
Random2
Sync Speed Off, 2 Bars, 1 Bar, 1/4
1/2, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64
The touch strip controls repeated instances of the original Parameter Value Range Default Value
signal that decay over a period of time that is synced to the
project tempo. Cutoff 40.00–10000 Hz 3052.90 Hz
Resonance 0.00–1.00 0.50
Feedback -99.00 – 0.00 – 49.50
99.00
Diffusion 0.00–1.00% 0.50%
Mode LowPass, LowPass
BandPass, HiPass
Delay Time 1 Bar, 1/2, 1/4, 1/4t, 1/4
1/8, 1/8t, 1/16,
1/16t, 1/32, 1/64
Delay Mode Normal, Cross- Normal
Feedback, Ping-
Pong
Octave Mode Off, On Off
Beat Repeat
The touch strip controls an effect that will slice and repeat Parameter Value Range Default Value
the source audio according to a tempo-synced beat value.
Cutoff 40.00–10000 Hz 2530.00 Hz
Resonance 0.00–1.00 0.50
Mode LowPass, LowPass
BandPass, HiPass
Delay Time 1/4, 1/4t, 1/8, 1/8t, 1/4
1/16, 1/16t, 1/32,
1/64
Reverse Off, On Off
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Tape Stop
The touch strip controls a tape stop effect that emulates the Parameter Value Range Default Value
slowing down of analog tape playback.
Cutoff 40.00–10000 Hz 2530.00 Hz
Manual Stop 1.00 – 4.00 s 2.50 s
Time
Sync Stop Off, 1/4, 1/4t, 1/8, Off
Time 1/8t, 1/16, 1/16t,
1/32, 1/64
Phaser
The touch strip controls a phaser effect, created by multiple Parameter Value Range Default Value
ganged all-pass filters to create “notches,” or sharp spikes,
in the frequency spectrum. The frequencies of these all-pass Feedback 0.0–100.0% 100.0%
filters can be modulated by an LFO to create a sweeping Manual Speed 0.10–50.00 Hz Off
sound.
Sync Speed Off, 2 Bars, 1 Bar, 1/4
1/2, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64
Comb Filter
The touch strip controls a comb filter, which creates Parameter Value Range Default Value
“notches” in the frequency spectrum, similar to the phaser,
by delaying the audio signal and adding it back to itself. Feedback 0.0–100.0% 100.0%
Manual Speed 0.10–50.00 Hz Off
Sync Speed Off, 2 Bars, 1 Bar, 1/4
1/2, 1/4, 1/4t, 1/8,
1/8t, 1/16, 1/16t,
1/32, 1/64
Washout
The touch strip controls an echo effect that is useful for Parameter Value Range Default Value
creating transitions.
Cutoff 40.00–9000 Hz 1160.00 Hz
Resonance 0.00–100.00% 0.50%
Feedback 0.00–100.00% 0.50%
Diffusion 0.0–10000.0% 5000.0%
Delay Time 1 Bar, 1/2, 1/4, 1 Bar
1/4t, 1/8, 1/8t,
1/16, 1/16t, 1/32,
1/64
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Granulator
The touch strip controls a granulator effect, which turns your Parameter Value Range Default Value
incoming audio into small grains of sound that can be
looped, pitch-shifted, and manipulated. Density 1.0–300.0 150.0
grains/sec grains/sec
Window Length 20.0–1000.0 ms 510.0 ms
Grain Length 10.0–200.0 ms 105.0 ms
Grain Feedback -99.00 – 0.00 – 0.0%
99.00
Pitch -12.0 – 0.0 – 12.0 0.0 semi
semi
Stereo Spread 0.0–100.0% 0.0%
Manual Flanger
The touch strip controls a flanger effect, a modulated delay Parameter Value Range Default Value
that emulates the sound created when running two analog
tape machines in parallel with a slight time misalignment. Frequency 100.00–4000.00 4000.00 Hz
Hz
Feedback 0.0–100.0% 100.0%
Additionally, the following improvements have been made to existing Force plugins:
• Rack FX presets have been updated to include presets that use the AIR Flavor and AIR Amp Sim effects.
• The Akai Granulator effect now includes three new parameters for more control over the grains: Reverse, Shape,
and Skew.
• The AIR Vocal Tuner effect now includes a suite of factory presets.
• The AIR Reverb effect now has an expanded range of factory presets.
Snapshots
To clear a snapshot from a row, tap Clear Snapshot from the Edit
Row window.
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Menu Editing and Shortcuts Panel
You can now edit the order of Force modes in the Menu.
To reset menu changes, tap the X button at the top of the menu next to
the Sync setting.
To use the shortcuts panel, swipe the black touch handle to the right
from the left edge of the touchscreen while viewing any mode. The five
modes from the left-most column of the Menu can be accessed here.
To close the shortcuts panel, swipe the menu to the left, or select one
of the modes.
Track Reordering
You can now change the order of your tracks and their contents.
1. Open Clip Matrix Mode by pressing Matrix on your Force hardware, or by selecting Clip Matrix from the mode
Menu.
2. Double-tap a track header to open the track settings window.
3. Use the Position field to move the track and its contents to a new location.
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Sounds and Favorites
Force now includes two new menus for browsing included plugin instruments, the Sounds and Favorites menus.
To enter the Sounds and Favorites menus, press Menu, and then tap Sounds.
When viewing either the Sounds or Favorites menu, you can swap to the other menu by tapping the first tab at the bottom
of the touchscreen.
Tap the gear icon at the top of the screen to open the Sounds menu settings. Here, you can set the default Sounds menu
view to be Instruments or the Current Preset, and enable or disable opening Track Edit mode when loading an
instrument.
Tap Locate Preset at the top of the touchscreen to open the preset list for the currently selected plugin instrument.
Tap Edit Instrument at the bottom of the touchscreen to open Track Edit mode to adjust the instrument parameters.
Tap the Instruments button to select another program type to search for using the Sounds interface. You can search
for Drum, Plugin, Keygroup, Clip, MIDI, and CV program types in any factory expansions or user expansions on any
attached drives. When browsing an expansion or user folder, tap a cell to load the selected program.
When searching for non-Plugin programs, you can also tap and hold on an empty space to set a preferred folder location
for your saved programs.
To edit an existing Favorite slot, tap and hold on a filled Favorite slot.
In the menu that appears:
• Tap Clear to clear the slot.
• Tap Overwrite to replace the favorite with the currently selected
preset.
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Setlists
Use the Setlists tab to create a list of projects to easily recall, such as for a live performance.
To create a Setlist:
1. Open the Setlist tab from the Sounds page.
2. Tap and hold on an empty Setlist slot, and then tap Choose Project.
3. In the file browser that appears, locate the project you would like to add and then tap Select to load it.
To edit an existing Setlist slot, tap and hold on a filled slot. In the menu that appears:
• Tap Choose Project to select a different project for the same slot.
• Tap Clear to empty the selected slot.
• Tap Copy to copy the project to another slot. Then, tap and hold on an empty slot and tap Paste.
You can now add probability and create roll effects by adding ratchets to any note in the Force sequencer. You can apply
probability and ratchet from your Force in the Clip Event Editor or the Step Sequencer.
You can also view and adjust the probability or ratchet information using the Step Sequencer. Select the desired note and
then set the Step Sequencer Parameter to Probability or Ratchet. As the bars are adjusted, the current probability value
(1–100%) or ratchet subdivision (Off, 2-8) will be shown in the Parameter field. The ratchet value will also be shown in
the note on button beneath the accompanying slider.
Note probability and ratchet values will be saved and loaded as part of MPC pattern files (.mpcpattern).
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Built-In Tuner
Force now includes a built-in tuner function, allowing you to easily tune any connected audio sources such as guitars,
basses, synth modules, and other pitched instruments.
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Workflow Improvements and Enhancements
The AIR DrumSynth-Multi plugin instrument effect now has assignable mute groups. The accompanying factory presets
have been updated to use them.
Force now supports Ableton Link v3. Go to Preferences > MIDI / Sync > Sync Receive and enable the Ableton
Start/Stop Sync parameter to sync the Force transport with other Ableton Link devices.
Arpeggiator settings and XYFX location are now saved and recalled with your Force project.
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Updates in Force 3.2.1
New Features
You can now load MPC projects into Force. When importing an MPC project:
• Each sequence is imported as a new row in the clip matrix.
• Each program is imported as a new track.
• For projects where more than one track is using the same program, Force will import these as MIDI tracks, with
the MIDI Send To field set to send data to the first program track.
Workflow Improvements
You can now reorder insert effects in a channel strip. When viewing loaded effects or the Effects tab in Track Edit Mode,
tap the arrows next to the insert slot to move the selected effect up or down.
If you have removed the factory demos from the internal drive, the New Project dialog will now show a blank area for
demos.
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Updates in Force 3.3
New Features
AIR Chorus
This effect is a compact but powerful plugin for Parameter Value Range Default Value
classic chorus warmth and depth.
Rate 0.01 – 10.0 Hz 1.01 Hz
Depth 0.00 – 24.00 ms 7.10 ms
Mix 0–100% 50%
Feedback 0–100% 0%
Pre-Delay 0.00–24.00 ms 2.00 ms
Wave Triangle, Sine Sine
Offset -180 – 0 – +180 deg. +90 deg.
This effect is a versatile, creative delay plugin Parameter Value Range Default Value
with a wide range of applications from subtle
stereo delays to complex repeating patterns. Delay
Sync On: 1/16 – 8/4 4/4
Sync Off: 0 ms – 4.00 s 2.25 s
Feedback 0–100% 50%
Mix -100.0 – 0.0 dB -50.0 dB
From/To Varies Tap 5 / Input
Sync Off, On On
Low Cut 20.0 Hz – 1.00 kHz 500 Hz
High Cut 1.00 kHz – 20.0 kHz 2.00 kHz
1–5 Off, On On
Tap Delay 10.0 ms – 10.0 s Varies
Pan L100 – C – R100 Varies
Level -Inf – 0.0 dB 0.0 dB
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AIR Vintage Filter
This effect is a powerful filter plugin for Parameter Value Range Default Value
bringing those classic analog filter sounds to
your tracks, perfect for synths, guitars plus Cutoff 20.0 Hz – 20.0 kHz 878 Hz
loads more. Resonance 0–100% 0%
Fat 0–200% 200%
Mode LP24, LP18, LP12, BP, HP LP18
Attack 10.0 ms – 10 s 10.0 ms
Release 10.0 ms – 10 s 966 ms
Env. Depth -100 – 0 – +100% +37%
Sync Off, On On
Rate
Sync On: 16 – 8/4 4T
Sync Off: 0.01–10.0 Hz 2.54 Hz
LFO Depth 0–100% 61%
Output –Inf dB — 0.0 dB 0.0 dB
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