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SINUS GND-SN.... A-11 NOISE GND-NS.... A-11 IMPULSE GND-IM.... A-11 INP...... A-11 INPUT GATE A/B INP-GA/B.... A-11 INPUT FILTER FOLLOWER A/B INP-FA/B... A-11 INPUT ENVELOPE A/B INP-EA/B... A-11 MID.....A-12 CTR.....A-12 CONTROL ALL CTR-AL...A-12 CONTROL 8 PARAMETERS CTR-8P....A-13 CONTROL RHYTHM ECHO DELAY CTR-RE...A-13 CONTROL GATE BOX REVERB CTR-GB...A-14 CONTROL MASTER EQ CTR-EQ...A-14 CONTROL DYNAMIX PROCESSOR CTR-DX...A-14 ROM (SPS-1UW ONLY)....A-15 ROM MACHINES ROM-1 - ROM-48...A-15 RAM (SPS-1UW MKII ONLY)...A-15 RAM RECORD RAM-R1 - RAM-R4...A-15 RAM PLAY RAM-P1 - RAM-P4...A-16 RAM MACHINES TUTORIAL...A-16
APPENDIX B: APPENDIX C: INDEX
MIDI CONTROL REFERENCE SYSEX REFERENCE
DEFAULT MIDI MAPPINGS....B-1 CTRL-CHANGE MAPPINGS....B-1

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INTRODUCTION

Thank you for choosing the Machinedrum SPS-1 MKII/SPS-1UW MKII, Synthetic Percussion Sequencer. The Machinedrum is a powerful and intuitive tool for creating percussion sounds and rhythm sequences. The Elektron development team would like to take this opportunity to thank you for your choice of music creation tool. We hope that you will have a lot of fun while exploring the vast possibilities of the Machinedrum. To make the most of the SPS-1 MKII/SPS-1UW MKII, we would recommend you to carefully read the relevant parts of this manual. This manual is specifically written for the MKII versions of the Machinedrum family. However, although differences exist between the MKI and MKII models, this manual it is also usable for MKI models. Please see DIFFERENCES BETWEEN THE MKI AND MKII MODELS on page 81 for more details on exactly what differs between the two models.
CONVENTIONS IN THIS MANUAL
In this manual, we have used certain conventions to indicate input operations using knobs and buttons and output from the user interface. These conventions are listed below: Buttons are written in upper case with bold style, and they are enclosed in brackets. For instance, the button function on the main panel is written [FUNCTION]. Menu names, certain modes and operations will be written in upper case. The SYNTHESIS menu is an example of that. Messages visible on the screen will be written in upper case with quotation marks. Like this, RECEIVING DUMP. Parameter abbreviations as they appear on the screen are written in bold style, for example PTCH. Knobs are written in upper case with bold, italic style. For instance, the knob level is written LEVEL. LED indicators like the record light are written <RECORD>. The following symbols are used throughout the manual:

and also indicate the current data entry values. When two parameters depend on each other in some way, they will have a small clip between them as shown below:

LAYER EDIT AND WINDOWS

When a function which puts a window on top of the main interface screen is opened, the function of certain buttons and/or encoders will change. The buttons that are not used or blocked can still be used to control the layer underneath. For example, when you have called the tempo function it will make use of the SOUND SELECTION wheel, but you can still use the DATA ENTRY knobs to control the track in focus. When a window has functions mapped to such interface controls, help is provided at the bottom of the window in the form of icons representing these controls. The icons are: The arrow buttons The [FUNCTION] key The SOUND SELECTION wheel The [TRIG] keys
All windows can be closed using the [EXIT/NO] key.
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QUICK START

This quick start will guide you through some of the basic operations to allow you to start using the SPS-1 MKII/SPS-1UW MKII right away. First connect it as described in section CONNECTING THE UNIT, on page 7.
PLAYING AND TWEAKING DRUM SOUNDS
1. Press the [KIT] key. 2. Select the LOAD KIT icon in the menu and press [ENTER/YES]. You will now be pre-
sented with a list where you can select a kit name using the [UP] and [DOWN] keys.
3. Press [ENTER/YES] to load the kit. Exit the menu by pressing [EXIT/NO] 4. Now press any of the 16 [TRIG] keys to play the corresponding drum assigned to that
track. You will notice that the drum select LEDs in the upper left corner will light up accordingly.
5. Turn the SOUND SELECTION wheel so that the <BD> LED is lit. <BD> is now the
active track, and every parameter that is being edited will be directed to the bass drum track.
6. Make sure that the <SYNTHESIS> LED is lit by pressing the toggle key [SYNTHESIS/

EFFECTS/ROUTING].

7. Now, turn any of the DATA ENTRY knobs to tweak the corresponding bass drum
machine specific parameter. You can trigger the sound by pressing the first [TRIG] key while you are turning the DATA ENTRY knob A to hear the pitch change.
Instead of using the SOUND SELECTION wheel to choose the active track you can
hold the [FUNCTION] key while pressing the corresponding [TRIG] key.
The DATA ENTRY knobs have accelerated editing when pressed. By default, the
knobs increase/decrease in steps of +1/-1. When pressed, the step length is higher, allowing quicker adjustments.

AND NAMING A KIT, on page 15 for information about saving kits. For more information on specific parameters of the different machines, please see Appendix A: MACHINE REFERENCE.
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THE TRACK EFFECTS

The TRACK EFFECT system is available for all 16 tracks as an extension to the machine percussion synthesis. The track effects consist of individual effects for every track. The effects that are available for each track are:
Amplitude modulator 1-band parametric EQ Adjustable lo/hi/bandpass Filter Sample rate reduction
To access the track effects, press the [SYNTHESIS/EFFECTS/ROUTING] key until the <EFFECTS> LED is lit. The rightmost text of the machine information area at the bottom left will show TFX for effects. The TRACK EFFECT parameters for the active track are now controlled by the DATA ENTRY knobs.
The TRACK EFFECT system is a very powerful sound shaping tool. Use it to either
dramatically alter or subtly change the sound of a machine.

AMPLITUDE MODULATOR

The amplitude modulator is essentially a volume control which is controlled by a low frequency oscillator. It is also known as a tremolo. The frequency of the Machinedrum amplitude modulator can be very high, allowing extreme effects.
AMD controls the the modulation depth. AMF controls the modulation frequency.
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TRACK EQ

Using the 1-band parametric EQ, you can boost or reduce a certain frequency band.
EQF controls which center frequency that will be affected by the EQ gain. EQG controls the EQ gain. If set to a negative value, the volume of the frequency centered around the EQF parameter will be reduced.
If you find a bass drum lacking in punch, try adding a little EQ-gain in the lower

frequencies.

FILTER
The TRACK EFFECT system offers a resonant 24dB lo/hi/band-pass filter. The parameters are untraditional, giving the user control of both the low and high filter cutoffs, as well as a variable gap bandpass filter.
FLTF controls the base filter cutoff frequency. When the FLTW parameter is set to its highest value, changing the FLTF parameter has the function of a high-pass filter. When the FLTF parameter is set to zero, the highpass-Q is disabled. The illustration below shows the function of the filter.

save patterns. If you wish to keep the data in a pattern, you will have to copy it to another pattern before you begin editing it. See section PATTERN COPY, on page 43 for more information on copying pattern data.
If you exit the recording mode, you will not get the running LEDs above the [TRIG]

keys during playback.

The copy, clear, paste and undo functions operate on a specific track when in
GRID RECORDING mode. See section TRACK COPY on page 41.
The copy, clear, paste and undo functions operate on the full pattern when not in
GRID RECORDING mode. See section PATTERN COPY on page 43.
An easy way to experiment with a pattern is to move all the trigged notes of a track
forwards or backwards. While in record mode, hold down [FUNCTION] while pressing the [LEFT] or [RIGHT] arrow keys to perform this move. This is especially useful on tracks containing snare drums.
PATTERN PAGE FUNCTIONALITY ON MKI UNITS
On the MKI the pattern page is indicated by the LEDs <1/16>,<1/32:1> and <1/32:2>. When patterns are up to 16 steps in length only the <1/16> LED is lit. When the pattern is longer the <1/32:1> LED indicates the editing position being on the first page and <1/32:2> indicates the second page.

LIVE RECORDING

Live recording is the second method of recording drum trigs. In this recording mode, the [TRIG] keys are played like a drum set. The current kit is assigned to all [TRIG] keys, so all 16 tracks can be accessed at once.
1. To start recording using direct composing, hold [RECORD] while pressing [PLAY]. This
starts the sequencer recording and the <RECORD> LED starts to flash.
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2. You can now lay down your beat in real time by triggering the machines in your kit with

the [TRIG] keys.

3. To stop recording, press [STOP]. To exit recording but keep the sequencer playing the

pattern, press [PLAY].

4. To remove notes recorded, hold [EXIT/NO] and a [TRIG] key. All notes will be removed
for the part of the track that is played while the [EXIT/NO] and [TRIG] keys are held.
All live recorded data will be quantised to the current scale resolution (16th or

32nd notes).

NOTE COPY
It is possible to copy a note trig, complete with all parameter lock settings, and paste it to a new location in the track.
1. Make sure you are in GRID RECORDING mode, indicated by the <RECORD> LED giv-

ing off a steady light.

1. Hold down the [FUNCTION] key while pressing the [B/F] key. This brings forth the

ACCENT window.

2. The accent value is set in steps up to 15, using [UP] and [DOWN] or the SOUND

SELECTION wheel.

3. Toggle the steps to be accented by pressing the [TRIG] keys. Accent is per default set to
ALL and will therefore affect the whole pattern. Place accents by pressing the [TRIG] keys. Press the [RIGHT] arrow key if you want to accent individual tracks.
4. Move on to the next accent track by holding down [FUNCTION] and pressing the [TRIG]
key corresponding to the track whose accent you want to set.
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You can copy, paste, clear and undo accent patterns, tracks and track pages.
Press [FUNCTION] + either the [RECORD], [PLAY] or [STOP] keys while the ACCENT window is open to perform these operations on the accent pattern or track. Press [SCALE SETUP] + either the [RECORD], [PLAY] or [STOP] keys if you want affect the accent track page with these operations.

THE SWING WINDOW

Swing is used for adding a rhythmic shuffle to a pattern or to individal tracks. By default, the swing will affect every second 16th note, starting on step 2. This is how the swing pattern will be restored after a clear pattern operation and will give the traditional shuffle-style swing for a 4/4 single speed pattern. When changing to double speed mode in the SCALE SETUP menu (see page 38) you need to modify the swing pattern to get the same result in single speed mode. In double speed mode, activate swing for every fourth note, starting with the fourth note. More advanced swing effects can of course be made with other swing pattern setups, but that is outside the scope of this manual. To add swing to a pattern, follow the steps below.
1. Hold [FUNCTION] while pressing [C/G] to open the SWING window.
2. Use the SOUND SELECTION wheel to set the desired amount of swing. The amount of
swing is set in percent. 50% is the default value, meaning that no swing will be applied, and the maximum value is 80%.
3. The [TRIG] keys are used for toggling which pattern steps the swing will influence.
You can also have different swing settings for individual tracks. Note though that every swing track will share the same percentage of swing. Here is how you set individual swing tracks.
1. Hold [FUNCTION] while pressing [C/G] to open the SWING window. 2. Use the SOUND SELECTION wheel to set the desired amount of swing. 3. The [TRIG] keys are used for toggling which steps the swing will influence. Swing is per

default set to ALL which will affect the whole pattern. Press the [RIGHT] arrow key in order to select individual swing tracks.
4. Once you have set the swing track and are satisfied, move on to the next swing track by
holding down [FUNCTION] and pressing the [TRIG] key corresponding to the track
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whose swing you want to set. Note though that all swing tracks use the same percentage of swing. Below is a figure illustrating how notes are affected by various amounts of swing.
You can copy, paste, clear and undo swing patterns and tracks. Press [FUNCTION]
+ either [RECORD], [PLAY] or [STOP] while the SWING window is open to perform these operations. You can also copy, paste, clear and undo a swing track page by pressing [SCALE SETUP] + either the [RECORD], [PLAY] or [STOP] keys.
Try to swing only one or two tracks, for example the hi-hats, for creating rhythms
with a different feel compared to un-swinged patterns.
Experiment with using only a few swing trigs in a swing pattern. This will create
just a few notes that are slightly off beat which can add a great deal of movement to a pattern.
A parameter lock is a parameter locked to a certain value for a specific step. Parameter locks can be programmed in GRID RECORDING mode and recorded in LIVE RECORDING mode. For parameter locks to come into effect, you need to be in EXTENDED mode. All SYNTHESIS, TRACK EFFECT and ROUTING parameters can be locked. Parameter locks are a very important part of creating unique and dynamic patterns with the Machinedrum.
PARAMETER LOCKS IN GRID RECORDING MODE
To program parameter locks in GRID RECORDING mode, follow the steps below.
1. First make sure you are in GRID RECORDING mode, by verifying that the <RECORD>

LED is firmly lit.

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2. Select the track you wish to do parameter locks for, using the SOUND SELECTION
wheel. Select a parameter page (SYNTHESIS, EFFECTS or ROUTING) for the DATA ENTRY knobs.
3. Press and hold the [TRIG] key for the step where you want to add a lock. While holding
the [TRIG] key, you can now tweak the parameter of your choice with the DATA ENTRY knobs. You can tell that the parameter has been locked by it being inverted on the LCD screen. When the [TRIG] key is released, the trig for that position will hold the parameters that you just programmed. You can also click an unlocked DATA ENTRY knob once to lock it to its current value.

SONG LOOP

Song loops are a useful tool when creating a song. By using this command you can limit the number of rows and make the structure of the song clearer. They can also be used for setting up pattern loops in order to extend the Machinedrums limit of maximum 64 steps per pattern.
To create a loop, turn the SOUND SELECTION wheel in the PAT column to right before the A01-pattern, after the END indicator. When a loop is selected the second edit column controls which row to loop from. Use the SOUND SELECTION wheel or [BANK A-H] together with a [TRIG] button to change what row to loop to. The third column selects how many times the loop should be executed. Use the SOUND SELECTION wheel to select how many times the loop shall be executed. The loop count can also be set to infinity.
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Loops can be nested. A set of infinite loops can be very useful in a live setting. With a set of infinite
loops, the song transport functions can be used to jump between the looping patterns.

SONG JUMP

A loop can also be converted into a jump. A jump will refer to the song pointer position to the row that you select. Insert a jump by turning the SOUND SELECTION wheel so that the number of the second loop row becomes a number that is greater than the current row number. The jump command will appear and no loop count column will be available. Use the [RIGHT] arrow key to move the focus to the column where you insert which song row you want the song position pointer to jump to.

SONG HALT

If you set the loop to loop to the current row it will change to a HALT statement. When the song pointer reaches a HALT statement it will pause the playback. You then need to use the song transport controls as described on page 54 to select a new position to start from.

SONG MUTE

In songs, you can mute individual tracks for each row. The mute pattern for each row is accessed by moving the cursor to the MUT column and then pressing [ENTER/ YES].Tracks muted using song mute can not be unmuted using pattern mute.
This takes you to the familiar MUTE window as seen below.
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In this window you can set the tracks that will be muted for the row. The standard pattern mute, set by [FUNCTION] + [A/E], applies as well, so tracks muted there as well as in the song mute are silent.
SAVE SONG 1. Open the SONG window by holding [FUNCTION] and pressing the [KIT] key.
2. Use the [LEFT] and [RIGHT] keys to move to the SAVE icon. Press [ENTER/YES] to

The Machinedrum can either follow its internal clock or follow the tempo of an external source.
1. Select the SYNC row in the GLOBAL EDIT menu. Then select TEMPO IN and press
When TEMPO IN is set to EXTERNAL the Machinedrum is synced to incoming tempo via MIDI. When locked to external clock signal, the BPM will display EXT. If the Machinedrum does not receive a clock signal for a couple of seconds, it will revert back to following its own internal clock. Note that the internal clock of the SPS-1 MKII/SPS-1UW MKII is extremely precise. If you are unsure about the timing of the incoming signal, we recommend that you leave the TEMPO IN setting set to INTERNAL.
When the Machinedrum is synced to an external clock signal and no longer
detects it, the SPS-1 MKII/SPS-1UW MKII will fall back to its internal clock. In this situation, the sync source in the global settings will not change. Once the Machinedrum begins to receive an external clock signal again, it will synchronize to that signal.

CTRL IN

Here you decide how the Machinedrum should react to incoming MIDI control data.
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1. Select the SYNC row in the GLOBAL EDIT menu. Then select CTRL IN and press
When CTRL IN is set to ON the Machinedrum will respond to MIDI start, stop and continue messages. Use this setting if you want to control the playback of the Machinedrum from an external sequencer. When the CTRL IN option is set to off the Machinedrum will ignore MIDI start, stop and continue. With this setting the SPS-1 MKII/SPS-1UW MKII can have its tempo synchronized to an external source without having to stop the pattern currently playing if stop is pressed on the external sequencer. This is practical if you want to use the Machinedrum as a sound module and still have the LFOs and the Rhythm Echo tempo synchronized.

TEMPO OUT

The Machinedrum can be set to send out tempo information.
1. Select the SYNC row in the GLOBAL EDIT menu. Then select TEMPO OUT and press
2. When set to ON the Machinedrum will send out MIDI clock. If you are going to tempo
sync other devices to your Machinedrum, make sure this setting is set to ON, otherwise you can leave it set to OFF.

SOUND GENERATION SYSTEM 4 MD Synths 46 individual audio generating machines 5 effects on each track 4 stereo master effects 16 part synthesis 64 user programmable kits SPS-1UW MKII ONLY 48 ROM slots for storing samples 4 RAM machines for real time sampling
HARDWARE 128x64 pixel backlit LCD MIDI In/Out/Thru 6 x 1/4 impedance balanced audio out jacks 2 x 1/4 audio in jacks 1 x 1/4 stereo headphone jack Advanced dual DSP system 44.1kHz, 24-bit D/A and A/D converters Flash-EEPROM upgradable OS USERWAVE ONLY 2,5 megabytes of non volatile sample memory
TRACK EFFECTS Amplitude modulation 1-Band EQ Resonant 24dB lp/bp/hp filter Sample rate reduction Distortion
PHYSICAL SPECIFICATIONS MASTER EFFECTS Rhythm Echo delay Gatebox reverb Hi/Lo-shelf + parametric EQ Dynamix processor Steel casing with brushed aluminium panel Dimensions: W340xD176xH63mm (height including knobs and rubber feet) Weight: approximately 2.8 kg
POWER SUPPLY (PSU-2) ELECTRICAL SPECIFICATIONS Input voltage range: 100-240V (43-60Hz) Input connector: IEC320-C8 (2 prong) In-rush current: 50A maximum Output voltage: 5.7-6.3V DC Output current: 3.5A maximum Output connector: 5.5x2.5mm DC plug, power at center
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DIFFERENCES BETWEEN THE MKI AND MKII MODELS
There exist a number of hardware differences between the MKI and MKII models of the Machinedrum. Below is a compilation of the most important changes.

DESIGN

The height of the Machinedrum MKII is 63mm including rubber feet and encoders. The height of a MKI unit including rubber feet and encoders is 77mm.

POWER SUPPLY

A switched-mode power supply is used for the MKII models which allow the units to be used all over the globe without the need of voltage converters. The MKI models use an AC power supply. The output specification of the MKI power supply is: 6V AC, 2.5A, 50/60Hz. The plug size of the MKI supply is the same as a MKII power supply.

S/N RATIO AND OUTPUTS

The S/N ratio of the outputs on the Machinedrum MKII is 100dB. The outputs of the MKII units are impedance balanced. The S/N ratio for a MKI unit outputs is 91dB and the outputs are unbalanced.
SAMPLER SPECIFICATIONS (UW MODELS ONLY)
The MKII has 48 ROM slots, 4 RAM machines and 2.5MB of sampling memory. The MKI has 32 ROM slots, 2 RAM machines and 2.0MB of sampling memory.

PATTERN LENGTH

The pattern length of the MKII units can be up to 64 steps. The MKI can have patterns containing a maximum of 32 steps.
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CREDITS

PRODUCT DESIGN AND DEVELOPMENT
Anders Andersson Magnus Forsell Anders Grder Daniel Hansson David Mllerstedt Mikael Rim

ADDITIONAL DESIGN

Gran Finnberg Jesper Kouthoofd Erik Larsson Charlie Storm Fredrik hfeldt

FACTORY DEFAULT SOUND DESIGN

Daniel Troberg

USERS MANUAL
Thomas Ekelund Daniel Hansson Jon Mrtensson

CONTACT INFORMATION

ELEKTRON SUPPORT

support@elektron.se

ELEKTRON WEBSITE

http://www.elektron.se

DELIVERY ADDRESS
Elektron Music Machines MAV AB Erik Dahlbergsgatan 3 SE-Gothenburg Sweden
Appendix A: MACHINE REFERENCE
In this appendix, the MD-synths of the SPS-1 MKII/SPS-1UW MKII will be introduced. The individual machine parameters are presented for reference.
TRX TRX is inspired by classic analogue drum machine synthesis. With TRX we have not tried to recreate any specific existing drum machine, but to create a classic sound with extended and relevant controls.

BASS DRUM TRX-BD

HOLD - Controls the initial hold time for the volume. TICK - Adds a tick to make the start harder. NOIS - Adds noise to the start of the sound. DIRT - Controls a bit reduction function for the bassdrum. DIST - A special type of distortion.

SNARE DRUM TRX-SD

PTCH - Controls the basic pitch of the drum. PTCH - Controls the basic pitch of the drum. DEC - Controls the decay time. RAMP - Ramps the pitch. RDEC - Speed of pitch ramp. STRT - Makes the start harder. NOIS - Adds noise to the start of the sound. HARM - Adds extra harmonics. CLIP - A special type of distortion. DEC - Controls the decay time. BUMP - Adds a pitch shift at the start. BENV - Controls the envelope of the bump. SNAP - Amount of snap. TONE - Changes tonal quality. TUNE - Detunes the drum. CLIP - A special type of distortion.

BASS DRUM TRX-B2

PTCH - Controls the basic pitch of the drum. DEC - Controls the decay time. RAMP - Ramps the pitch.

TOM TRX-XT

CLOSED HIHAT TRX-CH
PTCH - Controls the basic pitch of the drum. DEC - Controls the decay time. RAMP - Ramps the pitch. RDEC - Speed of pitch ramp. DAMP - Dampens the decay. DIST - Distortion. DTYP - Hardness of the distortion.
GAP - Changes the hi-hat gap. DEC - Controls the decay time. HPF - High pass filters the sound. LPF - Low pass filters the sound. MTAL - Adds extra metal character to the sound.

OPEN HIHAT TRX-OH

RIDE CYMBAL PI-RC

PTCH - Controls the basic pitch of the ride. DEC - Sets the decay time of the ride. HARD - Adds the impression of a hard hit. RING - Controls the amount of ringing in the sound. AG - Enhances the high frequencies of the sound. AU - Decreases the high frequencies of the sound. BR - Controls the low frequences of the sound. GRAB - Sets the time to grabbing the cymbal. A value of 127 means that that the cymbal is never grabbed.

CRASH CYMBAL PI-CC

PTCH - Controls the basic pitch of the crash. DEC - Sets the decay time of the crash. HARD - Adds the impression of a hard hit. RING - Controls the amount of ringing in the sound. AG - Enhances the high frequencies of the sound. AU - Decreases the high frequencies of the sound. BR - Controls the low frequences of the sound. GRAB - Sets the time to grabbing the cymbal. A value of 127 means that that the cymbal is never grabbed.
GND GND is not really an MD-synth. It contains some miscellaneous machines that can be used for adding extra tonality, and an empty machine called ---.

SINUS GND-SN

ATCK - The input gate attack time. A high value makes the gate open more slowly. HLD - The input gate hold time. This parameter controls how long the gate will be fully open for after the input signal level drops below the gate sensitivity level. DEC - The input gate decay time. Sets the gate decay time which comes after the gate hold phase.
INPUT FILTER FOLLOWER A/B INP-FA/B
This is an input envelope lowpass filter follower for the A and B inputs. It is made for passing through external audio. It does not react to trigs, other than you need to trig it once for it to become active.
PTCH - Controls the basic pitch. DEC - The decay time. A higher value gives a longer decay. RAMP - The pitch ramp. RDEC - The pitch ramp decay.
ALEV - Controls the input volume.

NOISE GND-NS

GATE - The input gate sensitivity. A low value lets lower signals through the gate. FATK - The input filter attack time. A high value makes the gate open more slowly.
DEC - The decay time. A higher value gives a longer decay.
FHLD - The input filter gate hold time. This parameter controls how long the gate will be fully open for after the input signal level drops below the gate sensitivity level. FDEC - The input filter gate decay time. Sets the gate decay time which comes after the gate hold phase. FDPH - The input filter cutoff depth value. This controls how much the filter cutoff value will be influenced by the input gate envelope. FFRQ - The input filter base cutoff frequency.

IMPULSE GND-IM

UP - The time that the impulse stays positive. UVAL - The value of the positive phase. DOWN - The time that the impulse stays negative. DVAL - The value of the negative phase.
FQ - The input filter Q value.
INPUT ENVELOPE A/B INP-EA/B
This is an envelope that treats external audio as a percussion source. It has two active envelopes, one for the external audio and one the extra built in lowpass filter. The envelopes are trigged using the standard drum trig buttons.
INP The INP synth contains the machines that effect the two external inputs of the Machinedrum.

INPUT GATE A/B INP-GA/B

This is a gate for the A and B inputs. It is made for passing through external audio. It does not react to trigs, other than you need to trig it once for it to become active.
AVOL - Controls the input volume (Amplitude). AHLD - The input amplitude hold time. A high value keeps the input amplitude gate open longer. ADEC - The input amplitude decay time. FQ - The input filter Q value. FDPH - The input filter cutoff depth value. This controls how much the filter cutoff value will be influenced by the input filter envelope.
VOL - Controls the input volume. GATE - The input gate sensitivity. A low value lets lower signals through the gate.
FHLD - The input filter cutoff hold time. FDEC - The input filter cutoff decay time. FFRQ - The input filter base cutoff frequency.
MID The MIDI machines are used for controlling external MIDI gear, such as synthesizers, connected to the MIDI OUT port of the Machinedrum. There are 16 MIDI machines in total, each connected to the corresponding MIDI channel. As there is no internal audio processing fo these machines, their controls extend over the SYNTHESIS, EFFECT and ROUTING menus.

Synthesis window

CC4D - Selects the Control Change message to be controlled by CC4V.

Routing window

CC5D - Selects the Control Change message to be controlled by CC5V. CC5V - Sets the value of the Control Change chosen in CC5D. PCHG - Performs a Program Change message between 0 and 126. LFOS - Controls the speed of LFO of the MIDI machine. LFOD - Controls the depth of the LFO of the MIDI machine.
NOTE - Selects the MIDI note to be triggered, ranging from C-2 to G8. N2 - If N2 differs from 0 it adds a second note (chord) N2 number of semitones from NOTE. N3 - If N3 differs from 0 it adds a second note (chord) N3 number of semitones from NOTE. LEN - Sets the length of the notes. VEL - Sets the velocity for NOTE, N2 and N3. PB - Controls the Pitch bend settings. MW - Controls the Modulation Wheel. AT - Controls the channel After Touch.

LFOM - Controls the balance between the waveforms of the LFO of the MIDI machine.
CTR The control machines are used to automate and making it easier to control the different parameters of the sixteen available tracks as well as offering control over the stereo master effects. Note that you can use LFOs alongside the stereo master effect control machines, but not with the other control machines.

CONTROL ALL CTR-AL

This machine simultaneously controls the chosen parameter or parameters for all 16 tracks. Manipulating one parameter on the CTR-AL machine will affect the corresponding parameter on all 16 tracks. Note that CTRL-AL does not affect the MIDI machines or the SYNTHESIS page of RAM RECORD machines. The functionality of this machine is similar to the [FUNCTION] + DATA ENTRY knobs operation described on page 37. The major difference is that using this machine, you can set trigs.

Track effects window

CC1D - Selects the Control Change message to be controlled by CC1V. CC1V - Sets the value of the Control Change chosen in CC1D. CC2D - Selects the Control Change message to be controlled by CC2V. CC2V - Sets the value of the Control Change chosen in CC2D. CC3V - Sets the value of the Control Change chosen in CC3D. CC3D - Selects the Control Change message to be controlled by CC3V. CC4V - Sets the value of the Control Change chosen in CC4D.
This page controls the up to 8 available synthesis parameters for every machine and track.
Here you control the track effect parameters for all tracks.
P1 TRK - Chooses the track that will be affected by the P1 parameter on the SYNTHESIS page. P1 PAR - Chooses which parameter that will be affected by the P1 parameter on the SYNTHESIS page. P2-P4 TRK - The same function as P1 TRK P2-P4 PAR - The same function as P1 PAR
Routing window Routing window
Here you control the routing page parameters for all tracks. A continuation of the content in the EFFECTS menu. The next 4 routings are made here.
CONTROL RHYTHM ECHO DELAY CTR-RE CONTROL 8 PARAMETERS CTR-8P
This Control machine is used for grouping together the parameters you manipulate the most into a single window. The parameters can belong to different tracks. This can be convenient in a live situation, allowing less pressing of buttons to reach the desired parameters. One CTR-8P machine can contain 8 of these track and parameter short cuts. The CTR-8P can also function as a sort of trigless trig since it can manipulate parameters without trigging the corresponding drum sound. Use this control machine to control the parameters of the RHYTHM ECHO delay. The effects and routing pages look the same for all the master effect control machines, therefore they will be described only for the RHYTHM ECHO delay.