Digitone Notebook 1v40

A Guidebook
DIGITONE A Notebook
A Reference Book
Featuring Digitone and Digitone Keys
An Unofficial Reference for OS

Elektron's FM Synth Module 1.40
II The Digitone Notebook : Reference & Guide
Contents
Overview 5
FM Synthesis 11
Architecture 19
Pattern Basics 29
Patterns Advanced 61
Tracks 107
Sound Management 125
Synth Sound Design 141
Filter and Amp 167
LFO’s 179
Effects 193
MIDI Setup 209
MIDI Interfacing 223
Audio Input & Output 251
System 267
Technique 285
Digitone Keys 311
The Digitone Notebook : Reference & Guide III

4 The Digitone Notebook : Reference & Guide
1
Overview
FM synthesis is often perceived as a complex offers power coupled with a familiar and proven
topic. The good news is that Elektron have workflow. Whether sequencing bass-lines or
simplified some of the complex FM principles percussion, controlling external devices, or for
in their application into the Digitone. This allows sound design, Digitone is a true winner. The unit
us to concentrate on the creative process and offers 8 voices across 4 audio tracks plus 4 MIDI
leave the theory at the door. Digitone follows tracks, internal send chorus, delay and reverb.
the typical Elektron style and contains much of The +Drive provides inbuilt storage. Digitone has
its DNA including the sequencer, trigs, audio Input and Output, MIDI In, Thru and Out,
parameter locks and a lot of the features that filter and overdrive per audio track, all contained
have become synonymous with Elektron within a small form factor. This guide offers you
devices. If your unclear of what these are then a reference and tips on getting the best from
stay with us, all will become clear. Digitone Digitone. There are walkthroughs and
comes in two versions. A modular desktop instructions that will help both the newcomer and
version and also a keyboard version with a 37 advanced users alike.There is designed-in space
key keyboard. FM Synthesis is an often allocation for making your own notes and
overlooked format, mainly as its perceived personalisation when using it in PDF editors. The
complexity. With a little patience and design is intended to bring a comprehensive set
understanding the power of FM can be of information and content alongside your own
unlocked and the unique sound features notes in an e-notebook format that supplements
realised. With 4 tracks of FM Synthesis rather than replaces the official manual.
available using predefined algorithms Digitone
The Digitone Notebook : Reference & Guide 5

1 Overview
How to Use This Notebook NOTES
This book combines a formal reference with your own notes and comments,
collectively bringing together a comprehensive guide to Digitone.
Sections are laid out to cover the full workflow with walkthroughs, step by
Can be written here
step guides and tips. Some pages carry a wide margin and some are Your Notes
intentionally blank enabling you to make your own notes on the specific
topics covered.
(CONTROL)
Rounded parentheses represent the context sensitive, rotary DATA ENTRY
controls labelled A-H or any other rotary which is indicated by its name i.e.
(LEVEL) for the Level/Data control.
[FUNC]
Square Parentheses contain functions that are selectable by a specifically
defined button.
[FUNC] + [COPY]
Functions which require multiple button selections simultaneously are
shown with a + Symbol between each button.
Some keys are represented by a symbol on Digitone for the specific

function, for example the song, global settings, voice, tempo, and transport
controls are marked with unique symbols. When referring to these buttons
the same square parentheses convention applies with the text name within
i.e. [PLAY], [STOP], [SETTINGS] etc
Keys / Buttons 1-16 will be indicated purely by the respective Trig / Track
number i.e. [1], [2] … [16] and will normally be preceded by the current
context i.e. Trig, Track etc
[SONG] Song Mode
[SETTINGS] Global Settings Menu
Did you
know?
[VOICE] Voice Allocation Settings Menu
Digiton
homage e Keys pays
to
design s the similar
Elektron tyle of the
M
[TEMPO] Tempo and Metronome Settings Menu released onomachine
in 2004

Overview 1
63
mm
On / Off 12V DC Hi Speed 5 Pin MIDI DIN ¼ Inch Audio Out Balanced,
Switch Power USB 2.0 In, Out - Sync A, Thru - Audio In and Stereo
Input. Type B Sync B (Sync, Din 24 or 48) Headphones
215mm
176
mm
The Digitone module also has M4 Vesa mount holes

100mm x 100mm for mounting to monitor or TV stands

1 Overview
Master Volume OLED Display
Adjusts the Audio Output and 128 x 64 Pixel, context sensitive screen
Headphone levels
Rear I/O Connections: MIDI, Audio inputs and

Level / Data outputs, power connector and On/Off Button
Adjusts the selected track level.
[FUNC] + (LEVEL/DATA) Scrolls the sound browser menu
Song Mode
Opens the song mode options.
[FUNC] + [SONG] opens the Import & Export Menu
Global Settings
Opens the global settings and project management options.
[FUNC] + [SETTINGS] Saves current project
Voice
Opens the voice handling allocation and settings.
[FUNC] + [VOICE] toggles unison mode on or off
Tempo
Opens the global / pattern tempo menu.
[FUNC] + [TEMPO] for setting a tap tempo
Sequencer transport modes & controls
[REC] Grid recording mode on/off

[REC] + [PLAY] Live Recording mode on/off
[REC] + tap [PLAY] + tap [PLAY] for live rec quantize on/off.
[REC] + [STOP] Step recording mode on/off.
[PLAY] Starts the sequencer running.

[STOP] Stops the sequencer playback.
[FUNC] + [REC] for Copy function

[FUNC] + [STOP] Pastes the copied item
[FUNC] + [PLAY] for Clear function
Track Note
Opens track note (scale, note, transpose) menu.
[FUNC] + [TRACK NOTE] for arpeggiator on / off (LED)
Secondary Function Pattern Select

Accesses the secondary ‘green’ function by holding Selects the respective patterns 1-16.
[FUNC] plus the chosen button together Press [PTN] then TRIG [1] - [16].
[FUNC] + [PTN] Selects metronome options
MIDI Bank Select

MIDI mode - opens MIDI editing pages. Selects the respective Bank A-H.
[FUNC] + [MIDI] accesses MIDI Configuration menu. Press [BANK] then TRIG [9] = A to [16] = H.
[FUNC] + [BANK] Selects mute mode

Overview 1
Data Entry Controls Trig Parameters
8 Endless rotaries A-H adjust the parameter aligned [TRIG] Access to the trig parameter menu.
with context specific function on the display. Press [FUNC] + [TRIG] to access sound setting menu.
and turn for greater incremental changes.
Synth 1 Settings
Selects the synth FM engine settings - page 1&2.
[FUNC] + [SYN1] for arpeggiator settings.
Synth 2 Settings
Selects more synth FM engine settings - page 1&2.
[FUNC] + [SYN2] for chorus effect settings.
Filter Parameters
Opens the multimode filter settings - page 1&2.
[FUNC] + [FLTR] for delay effect settings.
Amp Settings
Amplitude & effect send settings - page 1&2.
[FUNC] + [AMP] for reverb effect settings.
LFO Settings
Low frequency oscillator settings - page 1&2.
[FUNC] + [LFO] for master output parameters
The parameter keys also give access to MIDI configuration

pages when in MIDI Mode.
Yes
Selects the current value and menu during navigation.
[FUNC] + [YES] Temporary saves active pattern.
No
Exits or cancels or backs up from the current value or
menu during navigation.
[FUNC] + [NO] Reloads the temporary saved pattern.
Page
Selects the active pattern page.
Lit LED indicates pattern pages. Flashing LED
indicates the current track that is being played.
[FUNC] + [PAGE] Scale menu and also fill function.
Navigation Controls
[UP] [DOWN] [LEFT] [RIGHT].
In chromatic mode [UP][DOWN]
transpose octave
In Grid Recording Mode:
Micro timing using TRIG [1] - [16] + [LEFT] [RIGHT]
Active note with TRIG [1] - [16] + [UP] [DOWN]
Trig Keys 1-16
Trigs are programmed into a sequence.
Selects banks [BANK] and patterns [PTN]
Track Selection
Sets the note trigs and parameter locks (with data entry control). Selects and sets active track 1,2,3 or 4.
Mutes tracks and notes and also is the chromatic keyboard. [FUNC] + [Tx] to mute the track

NOTES

2
FM Synthesis
Elektron’s Digitone is a FM synthesizer. FM Synthesis styles and FM has appeared more in
Synthesis is notoriously difficult to understand the software synth plug-in world too. Ableton’s
and has developed a reputation as a complex Operator synth and NI’s FM8 are two examples.
platform that’s difficult to adopt. While it can FM sound is far more expansive and creative
appear a little daunting compared to say than just percussive sounds and unique lead and
subtractive synthesis it is not as difficult to learn bass patches are also common applications. So
as it may seem. Understanding the what is FM synthesis? While the most common
fundamentals of Frequency Modulation (FM) synth format is subtractive, where frequency
and FM Synthesis will be a big help to grasp the harmonics are carved out to shape the sound,
power of Digitone. FM Synthesis became FM synthesis works on the principle of one
popular in the early 80’s with the Yamaha DX7 waveshape modulating the pitch of another.
being arguably the most popular FM synth at While harmonics can be added or removed, the
that time. The DX7 (although not the prettiest) key principles in FM synthesis are to assemble
is still regarded as an iconic digital synth with its and configure a variety of wave oscillators to
recognisable hard edged signature sounds. interact and work together to create sound. This
Known for percussive metallic and bell like section sets out to clarify the basics of FM and
sounds, FM Synthesis has become more FM synthesis. To demystify the general
popular over time especially as digital terminology and get familiar with the basic
technology has evolved. Modular formats principles of how FM synthesis works.
refers to FM as part of the West Coast

2 FM Synthesis
2.1 Frequency Modulation NOTES
Let’s start at the very beginning. Audio is generated as a series of waves

transmitted across air. Think of throwing a stone into a calm lake and
seeing the ripples expand from the source. This is how audio works, while
we can’t see them, pressure is transmitted as vibrations creating waves that
is received at our ears and is interpreted as sound.
A Basic Audio Wave

SENDER AUDIO WAVES RECEIVER
for example a loud speaker or Multiple sound waves at various The human ear, the ultimate receiver with
in synthesis an oscillator frequencies and amplitudes a range of 20Hz-20kHz frequency range
Frequency
AMPLITUDE
FREQUENCY The change in level of the
The number of wave cycles is waveform is reflected in human
the audio frequency, measured hearing as the volume level of
as cycles per second (Hz). the sound. Centre to peak.
Frequency is measured in Hertz (Hz) meaning the number of cycles per

second in the audio signal. Human hearing operates between 20Hz and
20,000Hz. The frequency determines how we hear the pitch of a signal. For
example a frequency of 110Hz represents note ‘A’ in the bass regions while
a frequency of 7.04kHz still represents note ‘A’ but in the high range. The
pitch and hence musical note is based on the ‘fundamental’ frequency.
The waveform shown here is called a sine wave. It is a pure tone with one
fundamental frequency. It contains no harmonics or overtones. The
fundamental frequency is the lowest most prominent frequency in the
spectrum.

FM Synthesis 2
NOTES While a pure sine wave has one harmonic other wave shapes may carry
multiple harmonic frequencies. Harmonics are a series of ascending (from
the fundamental) frequencies that add to the tone and timbre to the sound.
Harmonics and are defined at specific multiples of the fundamental

frequency. Overtones are like harmonics in that they are additional
frequencies but do not relate to the fundamental frequency.
SINE WAVE SQUARE WAVE SAW WAVE

Single fundamental frequency Fundamental frequency plus Fundamental frequency plus
and no harmonics or overtones odd harmonics. only odd harmonics.
Audio is made up of a number of waves which are sine waves that form the
sound. Each instance of a sine wave is called a partial. Partial is a term
used in FM Synthesis.
If wave frequencies are important in shaping the sound timbre and pitch
then it is logical to conclude that adjusting and affecting the frequency
(modulation) will allow the sound as heard to be altered.
Modulation
Modulation is the term given to affecting a function or parameter with

another function. So turning a radio volume up and down is ‘modulating’ the
level. Modulation in this context is the practice of changing one element
from another. An example is the whammy bar on a guitar applying vibrato to
the sound.
MODULATION MODULATION
SOURCE. DESTINATION.
Examples Examples
Low Frequency Oscillator Filter Cutoff
Guitar Whammy Bar Guitar Strings
Volume Control Amplifier Output
Envelope Reverb Amount

2 FM Synthesis
Frequency Modulation NOTES
Modulating (changing) the frequency of an audio source will have an effect

on the sound timbre and pitch. Often in frequency modulation a low
frequency (slow) oscillator is used to change a frequency and therefore
affect the sound but in frequency modulation synthesis it is more likely to be
audio level waveforms (fast) used in the process. The amplitude of the
modulator source can affect the frequency of the destination.
The change in level of the

source waveform is reflected
by modulating the frequency
of the destination.
Frequency modulation is often called FM and will be used throughout this

guide where relevant.

FM Synthesis 2
NOTES 2.2 FM Synthesis
While FM synthesis applies the principles just described there are a few
other considerations to be aware of.
• As well as simply changing the frequency, the harmonics application is

based both on the source and the destination where the relationship
between waveforms also has affects on the harmonic content. The
application is more than simply modulating frequency as multiple
partials are manipulated based on the relationship of the waves applied.
• FM Synthesis often can apply more than a one-to-one relationship. A

number of waveforms can be applied together in a variety of
configurations with a variety of settings.
• The maths of harmonic relationships may be interesting to analysts, but

for musicians it’s of course more about what it sounds like.
FM synthesis has its own terminology. It’s worth being familiar with the
basic and core elements of FM Synth terminology.
Algorithm: The configuration and routing of a series of waveforms that

combine to create the audio output.
Carrier: A carrier is the output audio from the combination of operators. This
is the sound that can be heard.
Frequency ratio: each operator has a frequency ratio setting that defines
the relationship with the played note (fundamental frequency) and the
operator frequency (application to the note). Ratios in FM synthesis affect
depth of how frequencies and modulation is applied.
Modulator: The source of modulation and the element that affects the
change to another waveform. This is usually an operator used to modulate,
rather than deliver an audio output directly.
Operator: This is basically the oscillator in FM Synthesis and the part that
creates the initial sound source. An operator also provided modulation to
another. Multiple operators are often combined together into a voice. Six-
operator and four-operator are common in FM synthesis. Operators are
configured together into an algorithm where routing determines its role in
generating audio or for modulation.
Partial: A single cycle sine wave element of a waveform. These are affected
in various ways depending on the applied waveform.

2 FM Synthesis
FM Synthesis Overview NOTES
To visualise the terminology and roles of the key functions involved in FM

synthesis which by definition needs a minimum of two operators.
ALGORITHM
Combination and routing of
operators to create audio timbre
MODULATOR
Operator C
(Modulator) Operator used as a modulator to
another operator. No audio output.
Audio level (fast) modulation to control

the pitch of the destination carrier
OPERATOR OPERATOR
Operator used to generate Operator used to generate
elements of audio as a carrier Operator A Operator B elements of audio and is a
(Carrier) (Carrier)
but is also modulated by carrier.
another operator Technically an operator is a
combination of oscillator, envelope
and amplifier
AUDIO OUTPUT
Audio output from the combination of
carrier operators. The audible sound that
can be heard

FM Synthesis 2
NOTES 2.3 FM Synthesis examples.
Some examples of FM synthesis algorithms.
4 Operators Operator B Operator D

(Modulator) (Modulator)
2 Carriers combined for the audio
output, each modulated by an
individual modulator.
Operator A Operator C
(Carrier) (Carrier)
4 Operators
Operator B Operator D
(Modulator) (Modulator)
2 Carriers combined for the audio
output, each modulated by an
individual modulator. Operator D
also modulates itself (Feedback).
Operator A Operator C
(Carrier) (Carrier)
6 Operators
Operator E
3 Carriers combined for the audio (Modulator)
output. Modulator E is self
modulating and also modulates B
which in turn modulates carrier A.
Carrier A is also modulated by
operator D. Operator C and F are Operator B Operator D
pure carriers with no modulation (Modulator) (Modulator)
Operator F Operator A Operator C

(Carrier) (Carrier) (Carrier)

NOTES

3
Architecture
Elektron’s devices have a familiar feel between functions and terminology is also important in
its range of devices. Inside the Digitone is a working with Digitone (and in fact most of
powerful memory structure providing access to Elektron’s devices). This section gives out the
many sounds. The structure is based on its 8 definitions of the terms that are important. One
voice polyphony across 4 tracks. Digitone final thing to point out is that the functionality of
contains a +Drive non-volatile storage device the buttons and keys are very sensitive. The
which holds up to 128 projects and 2048 saved normal working practice is to ‘quick tap’ the keys
sounds. The RAM is where the realtime action for normal selection i.e. selecting the metronome
occurs. Each project contains up to 128 settings page. However some options need a
sounds. Patterns are the fundamental building longer key press. Setting the metronome on and
block of the Digitone and patterns hosts its off for example requires the keys [FUNC] +
active sounds. Eight banks each contain up to [PTN] to be held for 1 second. Therefore we
16 patterns with each pattern containing up to advise paying attention to any specific
4 sounds, each contained within one of the four instructions on where to ‘press’ (tap) and where
synth tracks. Digitone has a built in screen to press and hold. Understanding these
saver with 60 minute timer. Understanding the guidelines, definitions and the overall structure
architecture and structure of Digitone is sets the platform for getting to know the
important in adopting a good workflow. This foundations of Digitone and helps in developing
section describes the structure and your own more advanced workflows and
architecture of projects, audio configuration ultimately getting the best out of this excellent
and midi set up. Understanding the key machine.

3 Architecture
3.1 Glossary of Terms
While you may think this should be hidden at the back of this book, understanding the terminology
applied in ‘Elektron World’ is a big step in understanding Digitone power and performance. It makes
sense to become familiar with the essential terms to help embed full functionality into your workflow
+Drive: Digitone’s main integrated memory storage Overbridge: Specific Elektron PC/Mac software
device containing up to 2048 sounds and is utility which enables the communication between
available to all projects. Elektron hardware and its digital VST ‘twin’.
Carrier: An FM synthesis element that provides an Operator: An element and fundamental building
audible output. block in FM synthesis that generates sound (like
an oscillator) or modulates another operator.
Class Compliance: Refers to USB compatibility of
devices to allow MIDI and Audio over USB. Parameter: The setting of specific functions and
control elements that can be adjusted to affect a
Conditional Locks: Applies specific rules on how sound or operation
and if a Trig will operate. Considered pre-requisite
criteria for the step to operate Parameter Lock: Is where a unique parameter
setting is applied to one or more Trigs for example
Digitone: The wonderful little box full of musical a pitch setting for note trigs in order to develop a
magic also called an 8 Voice Polyphonic Digital melody sequence.
Synthesizer.
Pattern: This is the backbone and core of Digitone.
Elektron: The designer and manufacturer of Each pattern stores the sequence of sounds and
Digitone and many other great audio products. trigs, parameter locks, BPM and everything
associated with each pattern.
FM: Frequency modulation. This is the technique
used to synthesize sounds in Digitone. Project: The overall pattern container which
includes general settings, banks and pattern slots.
Frequency Ratio. These are the multiplies that are
used for frequency modulation of operator pitch Song: A collection of patterns which play as a
frequency. series in a full arrangement
Lock Trig: Activates a defined parameter change Sound: A Sound is the synth sound plus all the
on a sequence step without triggering the note i.e. settings specific to that sound.
Filter change.
Sound Lock: Sets an individual sounds from the
MIDI: While the synth sounds and parameters sound pool for each step on the same track,
come through the 4 tracks, Digitone can control allowing different sounds to be used on different
external midi devices also from 4 tracks by using steps of the sequence
the 5 Pin MIDI or USB connections.
Sound Pool: Memory set aside for each
Mute Mode: Modes in which variations can be independent project which contains sounds i.e.
created by silencing the play out of tracks and sample plus features.
patterns for sound design and especially when
playing live. This brings a lot of creative power in Track: Digitone contains 4 synth tracks for
using Digitone. triggering sounds and configurable as MIDI tracks
for controlling external devices
Note Trig: Triggers a specific note sound or midi
note on the selected track step. For example when Trig: A term used to describe the trigger / activation
setting sequence patterns of notes or parameter changes for a selected step
or note in a sequence

Architecture 3
NOTES 3.2 Project & Audio Structure
1 2 3 128
Max 128 projects stored
Project Project on +Drive
8 Banks each with 16 pattern slots
A B C D A B C D
Bank
E F G H E F G H
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16 patterns per bank
Pattern Content 13
System Level 128 Projects, 2048 Sounds
Saved with a pattern

Pattern
T1-T4 Track sounds, note and lock trigs
All TRIG, SYN1, SYN2, FLTR, AMP and
LFO Page parameters.
+DRIVE
Chorus, Delay and Reverb parameters.

Master page parameters.
Sound and parameter locks.
Length and time signatures for the tracks
Collection of 4 Tracks and

Level Settings
T1 T2 T3 T4
Track Track Track Track

Project Level - 128 Sounds per Project
Voice
Allocation
Sound Pool
Sound Sound Sound Sound

FM Synth Engine FM Synth Engine FM Synth Engine FM Synth Engine
Synth settings plus track FLTR,AMP,LFO Settings
2048 Sounds, 256 per bank

+Drive stored internally on the +Drive
Sound Manager
Transfers between +Drive 1 128
& Sound Pool 128 Projects stored on the
Project Project +Drive
128 Sounds available in

Sound Sound Digitone memory for each
Pool Pool individual project
Only sounds in the project sound pool can be sound locked

3 Architecture
3.3 Audio Structure
VOICE Track T1
ALLOCATION
Audio A
Engine ADSR ADSR LFO LFO
B
SYN1 & SYN2
X Y
Filter Envelope Amp Envelope Modulation Modulation
FLTR AMP LFO LFO
Base - Width Multimode

Overdrive Filter Filter AMP Pan
AMP FLTR FLTR AMP
AMP
Chorus
Delay
AMP
Delay
Delay Sends
AMP
Reverb
AMP
SETTINGS > AUDIO ROUTING

to manage routing set up
Chorus
Chorus
Delay
Delay
Reverb
Reverb
Effects
Sends
Effects Return
Tracks Replicated for
T2, T3, T4
External MASTER Master

Input Master Overdrive
L R L R
INPUT OUTPUT
Settings Page Shown in Green

Architecture 3
NOTES 3.4 Project & MIDI Structure
1 2 3 128
Max 128 projects stored
Project Project on +Drive
8 Banks each with 16 pattern slots
A B C D A B C D
Bank
E F G H E F G H
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 16 patterns per bank
Pattern Content
Saved with a pattern
T1-T4 Track sounds, note and lock trigs 13

All TRIG, SYN1, SYN2, FLTR, AMP and
LFO Page parameters. Pattern
Chorus, Delay and Reverb parameters.
Master page parameters.
Sound and parameter locks.
Length and time signatures for the tracks
T1 T2 T3 T4
Track Track Track Track
Chords & Chords & Chords & Chords &

Notes Notes Notes Notes
Channel Channel Channel Channel
parameters parameters parameters parameters
8 MIDI CC assignable 8 MIDI CC assignable 8 MIDI CC assignable 8 MIDI CC assignable
value and select value and select value and select value and select
Velocity Velocity Velocity Velocity

Length Length Length Length
Pitch Bend (PB) Pitch Bend (PB) Pitch Bend (PB) Pitch Bend (PB)
Aftertouch (AT) Aftertouch (AT) Aftertouch (AT) Aftertouch (AT)
Modwheel (MW) Modwheel (MW) Modwheel (MW) Modwheel (MW)
Breath Control (BC) Breath Control (BC) Breath Control (BC) Breath Control (BC)
5 Pin and USB MIDI In / Out for control

and communications with external midi
compliant gear

3 Architecture
3.5 Menu & Parameter Navigation
The Digitone display is context sensitive meaning the pages change to match whatever function is
selected and the rotaries match up to the displayed parameters. There are however some style and
layout conventions that apply across the device.
DATA ENTRY
Adjust the relative data entry rotary control to change the

associated parameter eg Turn (F).
Press and hold the data entry control while turning to adjust
in larger increments eg Press + Turn (F).
A B C D
Press the data entry control and the NO button to reset the
value eg Press (F) + [NO].
To reset ALL parameters on specific function page press E F G H

the parameter button and press play eg [SYN1] + [PLAY] 8 Data entry rotaries are relative to the context
also for TRIG, SYN2, FLTR, AMP & LFO. of the display parameter positions A-H
Hold any parameter key (TRIG, SYN1, SYN2, FLTR, AMP,

LFO) to see the associated current parameter settings.
Current Pattern Name. Pattern / Track Transpose.

Also this area displays the Current transposition setting for the
parameter change during editing selected track.
Currently selected BANK A-H Current tempo setting in

and pattern number 1-16 beats per minute
Track type SYN for audio synth
track or MID for MIDI Track
Current track number
Track Level
FUNC
Pressing [FUNC] while adjusting some parameters enables ‘jump’ selection between values rather
than a seamless step through sequential values eg [FUNC] + Delay Time.
[FUNC] + Green labelled button selects that function almost like a ‘shift’ option.
MIDI
Press MIDI to select MIDI mode for the four tracks. Button is lit bright when enabled.
[FUNC] + [MIDI] for MIDI config menu.
Menu Navigation
Use the [UP], [DOWN], [LEFT] and [RIGHT] arrows to navigate in some menu structures.
Using [FUNC] + [UP] & [DOWN] moves one page up or down within menus.
The [YES] / [NO] buttons confirm or cancel.
Note: The (LEVEL/DATA) rotary also scrolls through menu selections.

Architecture 3
3.6 Naming menu
Some functions have the option to name or rename, for example when saving a pattern. These
menus are selected or appear when the naming or renaming of a pattern, sound etc is required.
[LEFT] & [RIGHT]

Navigate between the current characters
[UP] & [DOWN] or (LEVEL/DATA)

To select character
[FUNC] + [NO]
Erase character
[FUNC] + [YES]
Insert space
POP UP NAMING MENU
Hold [FUNC] for pop up mode.
While holding, navigate to highlight

character required.
Release [FUNC] to Insert character
Maximum number of characters in the name is 16.
The Copy, Paste and Clear functions using the secondary key options [FUNC] + [REC] for Copy, [FUNC]
+ [PLAY] for Clear and [FUNC] + [STOP] for Paste are also available within the naming menu.

3 Architecture
3.7 Project Management NOTES
A project is the highest order element in the data structure hierarchy and
contains 128 patterns stored in 8 Banks of 16 patterns. Digitone also has a
preloaded and locked project called ‘PRESETS’ as number 001. The active
project is always reloaded on start up.
▌ LOADING A PROJECT
1. Select the GLOBAL SETTINGS option [SETTINGS].
2. Select PROJECT and press [YES].
3. Highlight the LOAD PROJECT Option using the (LEVEL/DATA) or [UP]

[DOWN] Keys, then press [YES].
4. The project list opens and scroll to highlight the selected project to load
and press [YES].
5. Option to save currently active project may appear. Press [YES] to

select save. Projects may be lost if not saved when loading a new
project.
▌ CREATING A NEW PROJECT
3. Highlight the LOAD PROJECT Option using the (LEVEL/DATA) or [UP]

[DOWN] Keys, then press [YES].
4. The project list opens and scroll to highlight the CREATE NEW option in
the list and press [YES].
5. New empty project will be loaded.
▌ QUICK SAVING OF A PROJECT
1. Press [FUNC] + [SETTINGS] to save project. Option to name may

appear on a first save.
2. Select [YES] to save patterns and project or [NO] to cancel

Architecture 3
NOTES
▌ SAVING A PROJECT AS
1. Press [SETTINGS] to select GLOBAL SETTINGS.
3. Highlight the SAVE PROJECT AS option and press [YES] to save.
4. Project list opens and select an empty slot where the project will be
saved.
5. A new slot will open the project naming function. Set the new name and
press [YES] to save.
▌ MANAGING PROJECTS
3. Highlight MANAGE PROJECTS using the (LEVEL/DATA) or [UP]

[DOWN] Keys and press [YES].
4. The project list opens and select one or more projects to manage.
Project selection is toggled by pressing [YES] and are shown checked.
5. Press [RIGHT] to open the project manager options.
6. Select the option required to be applied on the checked projects:
• CLEAR: Clears the selected project and resets.
• DELETE: Removes and deletes projects from selected slots.
• RENAME: Opens renaming screen. Only available when a single

project is selected.
• LOAD FROM: Loads selected project and overwrites active project.
• TOGGLE: Switches write protection on or off.
• INIT: Initialises the slot when empty slot is selected.
7. Press [YES] to confirm or [NO] to cancel.

NOTES

4
Pattern Basics
Digitone contains four synth and four MIDI sequencer are inextricably linked. A sequence is
tracks which all can contain an active pattern. in fact the formation of steps into a pattern and
Pattern sequencing is a notable function that is Digitone’s sequencer is the tool for managing
central to most Elektron devices and is at the this functionality. Add to this Digitone’s trig
heart of Digitone. Patterns are arranged within options including note trig locks, parameter
the powerful sequencer using its associated locks, micro tuning and its power and creativity
feature set to form basic and complex rhythms are fully recognised. Note trigs set note related
and develop evolving sounds and data to a step while lock trigs do not trigger notes
arrangements. While it is important to get to but rather set parameters changes locked to the
know the components within a pattern it is steps. Getting to know the elements that quickly
arguably better to understand the overall get things up and running with patterns is the
sequencing concept and its practical nature main objective of this section leaving the
before delving deeper. This section therefore advanced features till later. This section
provides the basics in building patterns and assumes use of the existing presets and default
offers a quick start to using Digitone settings as the starting point. As always there is
sequencing before diving deeper into the space and placeholders for your own notes and
workflow and before discussing the finer comments capturing your own learning and
details of the sub elements and functions. It is journey.
important to know that patterns and the

4 Pattern Basics
4.1 Workflow Overview - Synth Track Sequence NOTES
The sequence workflow requires the creation and assembly of sounds into
a series of steps to form a lead or bass line or drum sequence. Presets can
be loaded to achieve this or synth sounds created from scratch.
USE S CREATE
1 Design a new FM Sound
2 Save the sound
3 Select Track [T1], [T2], [T3], [T4]
Select Preset Sound:

[FUNC] + (LEVEL/DATA)
4 Assign Sound to a Track
5 Set the Tempo: [TEMPO]
6 Select Sequence Length
Select GRID Recording Mode: [REC]
Create pattern by selecting TRIG Steps: [1]...[16]

Select Bank:
[BANK] + [9]...[16] i.e. A-H 7
Select Pattern: [1]...[16]
Select LIVE Recording Mode: [REC] + [PLAY]
Create pattern by playing keys live to set TRIG Steps: [1]...[16]
8 Extend length: [FUNC] + [PAGE] & [PAGE]...[PAGE]
Create Extended Pattern by Selecting Trig Steps: [17]...[64]
Listen to Playback: [PLAY] 9 Listen to Playback: [PLAY]
Select Next Track to Sequence: [T1], [T2], [T3], [T4]
10 Add effects..............+ Parameter Locks, Trig conditions, swing etc
11 Set Track Levels
12 Temporarily save sequence pattern: [FUNC] + [YES]
Save Sequence Pattern to Project:

[SETTINGS] Menu > PATTERN; > Save to Project.

Pattern Basics 4
NOTES 4.2 Getting Started With Sequencing
While sounds are fundamental building blocks these will be discussed later
in detail. Saved sounds previously created or presets will be used in the
workflow examples in this section.
▌SELECTING A SAVED PRESET BANK / PATTERN
1. Select a bank by pressing [BANK] then press trig key [9] to [16] to
select a bank A to H. To select only a pattern in currently selected bank,
press [PTN].
2. Select the desired pattern within the chosen bank by pressing [1] to
[16]. The display prompts after selecting the bank.
3. To select a new or to change the pattern within the currently selected

bank; Press [PTN] + [1] … [16]
4. A 4 Second countdown timer to allow the pattern to be selected appears

on the display after pressing [BANK] and also after pressing [PTN].
RED WHITE
Indicates available banks Indicates bank selected.
9 10 11 12 13 14 16
A B C D E F G H
Button 9-16 selects bank A-H.

Buttons illuminate when pressed
RED WHITE
Indicates current pattern Available pattern slots
(only after pressing PTN)
Patterns 1-16 selection available either after selecting

a bank or after pressing [PTN] button.

4 Pattern Basics
▌PLAYING A PATTERN NOTES
1. Press [PLAY] - Play key is lit green and sequencer runs.
▌STOPPING A PATTERN
1. Press [STOP] to stop playback and allow fades of effects.
2. Press [STOP] & [STOP] to stop playback and cut off effects.
▌PAUSING A PATTERN
1. Press [PLAY] to pause during playback. The play (green) and stop
(white) buttons are both are lit when paused.
2. Press [PLAY] again to continue.
▌CHANGING A PATTERN DURING PLAYBACK
1. Select a new pattern within the currently selected bank; Press [PTN] +
[1] … [16] (or select from another [BANK] and Pattern [1]...[16] while
the sequence if playing.
2. The pattern will be queued until the existing sequence is completed.

This countdown is indicated in the top left of the display by the flashing
Bank / Pattern indicator.
The bank / pattern display

indicator flashes while the current
pattern is played and pending a
queued pattern change (at the end
of the current sequence)

Pattern Basics 4
4.3 Length and Scale
Digitone has a maximum of 64 steps mapped over 4 pages, each containing 16 steps. The steps
are essentially set by trigs using the 16 Trig keys, one for each step and a pattern per synth and/or
midi track. Extending pattern lengths also copies the existing pattern to the new page.
Page 1 Page 2 Page 3 Page 4

1 16 32 48 64
Trk 1
Trk 2
Trk 3
Trk 4
Orange Lit Bright Orange Flash Dark / Unlit Dark / Unlit

page contains a pattern pattern page being played no pattern on this page no pattern on this page
1:4 2:4 3:4 4:4
[FUNC] + [PAGE] Selects the scale In record mode [PAGE] Cycles

settings and [FUNC] + [YES] to + through and selects the active
toggle between length modes. page of the available pages
Per Pattern Per Track

All tracks share same length Tracks can be assigned individual
and time signature step lengths and scales
PATTERN TRK.1 PATTERN
LENGTH SCALE LENGTH SCALE CH.LEN M.LEN
(E) (F) (E) (F) (G) (H)
LENGTH: Use rotary (E), [UP] [DOWN] or [FUNC] + M.LEN: Rotary (H) to set the number of steps this track will play before all the tracks restarts
[UP] [DOWN] for snap changes or press trigs to adjust or starts the next in the chain. Also will loop infinitely with INF setting
the length of the pattern. Also press [PAGE] for changes CH.LEN: Rotary (G) to set the the duration of the current pattern will play before the next
in steps of 16. 1st Number is the actual number of steps. pending (cued or chained) pattern starts. Overrides M.LEN.
2nd number the total steps 16, 32, 48, 64.
LENGTH: Rotary (E), [UP] [DOWN] or [FUNC] + [UP] [DOWN] for snap changes or press trigs
to adjust the length of the pattern. Also press [PAGE] for changes in steps of 16. 1st Number
SCALE: Rotary (F) to adjust the time signature scale. is the number of steps. 2nd number the total steps 16, 32, 48, 64.
This is the multiplier to the tempo of the pattern.
SCALE: Rotary (F) to adjust the track time signature scale. This is the multiplier to the tempo
of the pattern.

4 Pattern Basics
▌SETTING PER PATTERN OR PER TRACK LENGTH NOTES
1. Press [FUNC] + [PAGE] to select the scale page. Use [FUNC] + [YES] if
needed to toggle between ‘Per Pattern’ or ‘Per Track’ modes.
2. Turn rotary control (E) or use [UP] or [DOWN] button In either mode to
set the number of active steps. Total step number (right digit) changes
in 16 step iterations. Press while turning (E) for larger increments.
▌QUICK CHANGE OF TOTAL PATTERN OR TRACK LENGTH
needed to toggle between ‘Per Pattern’ and ‘Per Track’ modes.
2. Press [PAGE] to cycle in full page (16 step) increments. The existing
page pattern is copied to new page.
▌QUICK CHANGE OF PATTERN OR TRACK STEPS
2. Press Trig [1] … [16] to select up to the 16 steps of the current page.
▌SETTING TIME SIGNATURE SCALE OF THE PATTERN OR TRACK
2. Turn rotary data control (F) to adjust the setting.

Available options are:- 1/8x 1/4x 1/2x 3/4x 1x 3/2x 2x
All as a multiplier of the active tempo.
▌CONTROLLING THE PATTERN LENGTH
needed to toggle to ‘Per Pattern’ mode.
2. Turn data control (G) to adjust the CH.LEN to set how long the active
pattern plays before a cued or chained pattern begins.
3. Turn data control (H) to adjust M.LEN to set how many steps the active
pattern plays before all tracks restart. CH.LEN takes precedence.

Pattern Basics 4
NOTES 4.4 Tempo & Metronome
Digitone has two tempo modes; pattern mode (default) which allows
individual tempo settings per pattern and global mode which sets the
overall, all tracks, tempo setting. The tempo range is between 30-300 BPM.
▌SETTING THE TEMPO
1. Press [TEMPO] to select the tempo page.
2. Use [FUNC] + [YES] if needed to toggle between pattern and global

tempo modes.
3. Turn rotary data control (LEVEL/DATA) to adjust in 1 BPM steps or

press and turn for larger increments of +/-4 BPM.
4. Use [UP] or [DOWN] button In either mode to adjust in 0.1 BPM steps
5. [TEMPO] Button flashes red in time with the selected tempo rate.
▌SETTING TAP TEMPO
1. Press [TEMPO] to select the tempo page.
2. Tap [FUNC] + [TEMPO] a minimum of 4 taps.
3. Tempo will adjust to the new tap tempo average.
▌MANUALLY NUDGING THE TEMPO TEMPORARILY
1. In any mode, press & hold [LEFT] to reduce tempo by 10%.
2. In any mode, press & hold [RIGHT] to increase tempo by 10%.
3. Release [LEFT] or [RIGHT] key to return to the original tempo value.
▌QUICK SELECTION ON/OFF OF THE METRONOME
1. Press & hold [FUNC] + [PTN] for 1 Second to toggle ON.
2. Press & hold [FUNC] + [PTN] for 1 Second to toggle OFF.
3. The display will temporarily show status change in the screen top title.

4 Pattern Basics
NOTES
▌SELECTING METRONOME OPTIONS
1. Press [FUNC] + [PTN] quickly.
2. The metronome settings page appears.
3. Turn the data entry controls to adjust settings:
(E) - Switch metronome On/Off.
(F) - Set time signature of metronome.
(G) - Pre-roll length prior to start.
(H) - Metronome click volume.
METRONOME
TIME PREROLL
ACTIVE SIG. BARS VOL.
(E) (F) (G) (H)
ACTIVE PREROLL BARS
Turn (E) to set metronome Turn (G) to set the number of bars
ON or OFF or hold that will play prior to the sequencer
[FUNC]+[PTN] for 1 sec. start (Live Mode only).
Off, 1-16
TIME SIGNATURE VOLUME
Turn (F) to control the note and Turn (H) to set the level of the
measure of the metronome metronome click level.
0-127

Pattern Basics 4
4.5 Track Notes.
Notes are entered into the sequencer by manually programming on the trig keys or playing the trig
keyboard. Features of the note and keyboard entry are available in the track note function. The track
note menu is also available as an alternative note entry option in grid recording mode.
Octave Increase / Decrease.

[UP] and [DOWN] will change the keyboard octave
range. Display messaging also appears in heading.
Current Track. Keyboard Fold (D).

Use the track buttons T1-T4 to Sets the keyboard trigs so that
select the track applicable. In MIDI unavailable notes in the scale do not
mode tracks are labelled M1-M4. appear on the Trig keys or from
external MIDI controllers. All Trigs
play a note in the selected scale.
Notes Played.
Shows current note(s) being
played. Also shows appropriate
notes in a 3 note chord when
‘Chord’ is set other than OFF.
Keyboard Visualisation.
Shows keyboard plus note(s)
played. Illustration changes to match
the available notes in the scale
Transpose Track (H).

Keyboard Scale (E). Sets the selected track transposition +/-36 in
Sets the scale that the keyboard
semitones. Acknowledge with Y/N. Same as
operates to. Scales available are listed in
direct track transpose [Tx] + [UP] or [DOWN].
the quick reference section.
Root Note (F). Keyboard Chord (G).

Sets the key based on the chosen keyboard Creates a chord from a selected note. This mode is
scale. Keyboard display image reflects setting. selected On or Off. In chromatic mode, options Maj, Min,
7th, Min7, Maj7, Dim, Dim7 are available.
Chromatic mode. Trig keyboard C# D# F# G# A#

reflects available notes in the KB Fold ON
chosen scale.
C D E F G A B C
When KB Fold is set to ON, all Trigs will represent a note in the selected scale. If the scale has less than 8 5
notes, the range will ‘wrap’ to represent notes at the bottom also at the top of the trigs. Blue Trigs signal
G# A A# B C C# D D#
notes 1 octave apart. If KB Fold is OFF, notes unavailable in the scale are still shown but are not active in
the scale notes. KB Fold OFF is default mode. 9
C C# D D# E F F# G

4 Pattern Basics
NOTES
▌SELECTING TRACK NOTE MENU
1. Select a track by pressing [T1], [T2], [T3] or [T4]. Also can be selected
from within the track note menu.
2. Press [TRACK NOTE].
3. The button illuminates and the track note menu appears.
4. Press [NO] or press [TRACK NOTE] again to exit the menu.
▌COPYING THE TRACK NOTE SETTINGS TO ANOTHER TRACK
1. Select a track to copy from by pressing [T1], [T2], [T3] or [T4].
2. Press [TRACK NOTE] to open the track note options.
3. Press [FUNC] + [REC] to copy the settings.
4. Select a track to copy to by pressing [T1], [T2], [T3] or [T4].
5. Press [TRACK NOTE] to open the track note options.
6. Press [FUNC] + [STOP] to paste the previously copied settings.

Pattern Basics 4
4.6 Basic pattern creation using note trigs.
Digitone has many powerful features that combine to create a pattern. The basic set up will require
the arrangement of steps using grid, step or live recording mode and setting trigs to activate notes
and associated parameters. This section concentrates on the initial process of building
arrangements with note trigs
NOTE TRIG
TRIG
An event set at a defined step
Parameters in the sequencer that triggers An event can trigger either an audio
note information and that, sound or MIDI notes
Note, Velocity, Length,
Probability, Condition combined with others, is
etc
arranged to form a pattern
4
Trig keys are multi-functional. In this
illustration they set and trigger notes 4
within patterns. They can also used for
bank and pattern selection
note
Note trigs are indicated RED
on the trig keys. Unlit keys
contain no trigs
1 16
Trk 1
RECORDING MODES
Three recording modes for creating and programming patterns are available. Grid recording mode allows steps to be
manually selected at locations throughout the static sequence. Live recording mode enables tracks to be played live
individually or chromatically and the natural note positioning is recorded. Step recording automates adding steps into
a static sequence, advancing the position dynamically. Trig selections are at a fixed velocity of 100.
GRID RECORDING LIVE RECORDING + STEP RECORDING +

Flash Play Double Flash
• Select using [REC]. • Select by holding [REC] then • Select by pressing [REC] plus
press [PLAY]. [STOP].
• REC button illuminates red.
• REC button flashes red and • REC button double flashes red
• Manually select the desired PLAY is green. in step rec mode.
steps to set the pattern trigs at
the required location. • Play live / real time to set trig • Manually select the desired
steps. steps to set the pattern trigs at
• Ideal for fixed step patterns the required location.
such as kick and snare. • Notes can also be played in
chromatic mode. • Sequence position
automatically advances when
• Ideal for natural rhythms such recording.
as hats and shakers.
• Standard and Jump modes
(LEN determines step length).

4 Pattern Basics
4.7 Grid Recording Basics. NOTES
The basic and simplest method of recording trigs into steps of a pattern is
grid recording mode.
▌PROGRAMMING A PATTERN IN GRID RECORDING MODE
1. Select the recording track by pressing [T1], [T2], [T3], [T4]. Select [MIDI]
only if recording a MIDI track. Track button selected is lit green.
2. Select GRID RECORDING mode by pressing [REC]. The REC Key will
turn red to indicate grid recording mode is active.
3. Select the desired trig keys for the steps required for each selected
track. Example: Kick on the beat, steps 1,5,9,13. Active steps lit red.
4. Change pages to access steps 17 - 64 by pressing the [PAGE] button (if

the pattern length allows. Use [FUNC] + [PAGE] to change length.
5. To change active tracks during grid recording press track [T1] … [T4].
6. Press [REC] again to turn grid recording mode off.
▌REMOVING TRIGS IN A PATTERN IN GRID RECORDING MODE
1. Select GRID RECORDING mode [REC]. Record is lit red.
2. Press the desired and active (lit red) step to remove by quickly pressing
TRIG [1] … [16]. The trig step button status reverts from red to unlit.
▌SETTING NOTE VALUE OF A TRIG IN GRID RECORDING MODE
1. Select GRID RECORDING mode [REC]. Record is lit red.
2. Press [TRIG] to select the trig parameter page. Button lit red.
3. Hold the desired step TRIG [1] … [16].
4. While holding the trig key turn data control (A) to set the new note
value. Press and turn (A) for larger incremental changes.
5. The parameter on display will invert to bold yellow to indicate a change

from its default value and shows a parameter lock is in place.
6. Release the TRIG key.

Pattern Basics 4
NOTES
Grid recording also allows two additional recording workflows. The track
note page and quick note mode can also be used to add steps with more
control over note and chord parameters.
▌TRACK NOTE RECORDING A PATTERN IN GRID REC MODE
3. Press the desired TRIG [1] … [16] + [TRACK NOTE]. The track note
options are displayed for the trig step.
4. Play the TRIG Keyboard to set individual notes or chords into the trig
step. Press a note again to remove it. The display shows selected notes
tagged ‘+’ and will also show by the lit red trig on the trig keyboard.
5. Options to adjust the scale, root and chord are also available in the
track note page on display.
6. Press [YES] to confirm note selection and exit the track note page.
7. Add more notes to other trigs or press [REC] again to turn grid
recording mode off.
+
Root Note.
Note set to trig.
Trig Number. Trig Notes.

Last trig pressed. Notes recorded to trig.
Trig Notes.
Tagged ‘+’ Keys selected
C# D# F# G# A#
C D E F G A B C

4 Pattern Basics
NOTES
▌QUICK NOTE RECORDING A PATTERN IN GRID REC MODE
3. Press and hold the desired TRIG [1] … [16] + [UP] or [DOWN]. The
quick note options are displayed at the top of the display. The root note
is default selection initially and is moved with [UP] & [DOWN].
4. While still holding the TRIG, set the notes by:-
• Press [UP] or [DOWN] to select the active keyboard note. Selecting

a new root note will also move associated additional notes relatively.
• Press [FUNC] + [UP] or [DOWN] to adjust active note pitch up and

down in increments of one octave.
• Press [YES] to add a new, additional note on the step. The active
note will step forward. Use [UP] or [DOWN] to move the note.
• Press [LEFT] or [RIGHT] to select an existing note on a step. Use

[UP] or [DOWN] to move the note.
• Press [NO] to remove an existing note (the last added note).
5. Release TRIG to exit.
6. Press [REC] again to turn grid recording mode off.
2
1
Note Value
Value of active step.
1
1
Active Note
Current note. 0 if no
2
notes are added.
Added Notes
Shows as a white or
black tag on the keys.
Number of Notes Notes not available in the

Total notes on the selected track note scale
sequence step. will be unavailable and
greyed out.

Pattern Basics 4
NOTES 4.8 Live Recording Basics.
Live recording enable the capturing of more dynamic and natural rhythms
and note melodies, operating in real time when the sequence is running.
▌RECORDING A PATTERN IN LIVE RECORDING MODE
1. Select LIVE RECORDING mode by holding [REC] + [PLAY].
2. The sequence will immediately start (or will count in based on

metronome pre-roll), the REC Key will flash red and the PLAY key will
be lit green to indicate live recording mode is active.
3. Play live the desired keyboard notes to record steps. The trig keys will
display and operate as a keyboard.
4. Press [STOP] to stop recording and stop playback. Pressing [PLAY] will
stop recording but continue to play.
▌RECORDING A QUANTIZED PATTERN IN LIVE RECORDING MODE
1. When in LIVE RECORDING mode, toggle the quantize mode by hold

[REC] + tap [PLAY] + [PLAY] quickly to set to quantize on/off. This is
indicated by a temporary message in title bar.
2. The sequence will immediately start (or will count in based on

metronome pre-roll), the REC key will flash red and the PLAY key will
be lit green to indicate live recording mode is active.
3. Play live the desired keyboard notes to record steps. The trig keys will
display and operate as a keyboard. Notes will be quantized based on
setting made.
4. Press [STOP] to stop recording and stop playback. Pressing [PLAY] will
stop recording but continue to play.
▌SWITCHING FROM LIVE TO GRID RECORDING MODE ON THE FLY
1. In LIVE RECORDING mode press [REC]
2. The mode switches from LIVE to GRID RECORDING mode and play
continues.

4 Pattern Basics
NOTES
▌CHROMATIC MODE IN LIVE RECORDING MODE
1. By default the trig keys revert to the trig keyboard. Note that step
recording mode also uses the trig keyboard when holding [FUNC].
2. Press [TRACK NOTE] to select the note options. The keyboard and
track note options can be set up. Adjust settings to suit the scale, root
etc as needed.
3. Select LIVE RECORDING mode by holding [REC] + [PLAY].
4. The trigs will now be laid out in a piano keyboard scale. The keyboard
can be ‘folded’ by Turning (D) and therefore all trigs will represent a
note. With KB Fold on, the trigs will all represent only notes in a scale
and unavailable notes are not presented on the trig keyboard.
5. The sequence will start running as indicated by the red cursor, the REC
Key will flash red and the PLAY key will be lit green to indicate live
recording mode is active.
6. Play live the desired notes on the trig keyboard. The scale notes are lit.
This will record notes on the selected track. The trigs will also show the
red active step dynamically as the sequencer plays. Blue trigs will be
shown in KB Fold mode to represent the same note across the octave.
7. Use [UP] and [DOWN] to transpose the keyboard if required. Octave

changes will show on the display.
8. Press [STOP] to stop recording and playback.
9. Pressing [PLAY] will stop recording but continue to play.
C# D# F# G# A#
C D E F G A B C
TRACK NOTES
The scales and settings of the keyboard can be changed in the track notes menu
function. Example above shows the chromatic settings and KB Fold set to OFF.

Pattern Basics 4
NOTES 4.9 Step Recording Basics.
Step recording is similar to grid recording. Notes can be added with the trig
keys or external MIDI controller and steps iterate automatically. Two states
are available, standard mode or jump mode which uses the LEN setting for
recording in the note length as well as the sequence advancement interval.
▌CHANGE / CHECK STEP RECORDING MODE STATE
1. Select the recording track by selecting [T1], [T2], [T3], [T4]. Select
[MIDI] if recording a MIDI track. Track button selected is lit green.
2. Select STEP RECORDING mode by pressing [REC] + [STOP]. The

REC Key will double flash red to indicate step recording mode is active.
3. Press [REC] + [STOP] again while in step recording mode to switch

between standard and jump modes.
4. Display indicates mode state when selected.
▌STEP RECORDING IN STANDARD MODE

3. Ensure step recording is set to ‘standard’ mode using [REC] + [STOP].
4. Select a start point TRIG [1] … [16] step. The green blinking trig key will
indicate the currently selected step. If an existing trig is present the
colour pattern may match this trig or its colour may remain static.
5. Also the [LEFT], [RIGHT] buttons relocate the step position.
6. To open the trig keyboard hold [FUNC]. Notes can then be played to a
scale on the trigs. To transpose, use [FUNC] + [UP] or [DOWN].
7. To record notes while [FUNC] is held:
• The notes are added using the keyboard and the sequence position
will automatically advance forward after each note / chord is added.
• Press [NO] to remove a note trig or add a rest into a step.
9. Press [REC] to exit step recording mode.

4 Pattern Basics
NOTES
▌STEP RECORDING IN JUMP MODE

3. Ensure step recording state is set to ‘jump’ mode.
4. Select a trig start step. The green blinking trig key will indicate the
currently selected step. If an existing trig is present the colour pattern
may match this trig or its colour may remain static.
5. Press [LEFT] or [RIGHT] also to relocate the step position.
6. Select the [TRIG] Page and turn (C) to set the LEN Parameter to a
length as desired. This length will determine:
• The length of the recorded step note i.e. 1/16th.
• The step advancement of the sequencer i.e. 1/16th.
• The application of a parameter lock for LEN on the step.
7. To open the trig keyboard hold [FUNC]. Notes can then be played on
the trigs. To transpose, use [FUNC] + [UP] or [DOWN].
8. Record notes, with [FUNC] held:

• Play the notes to add into the pattern. The notes are added and the
sequence position will automatically advance forward.
• Also hold [YES] while placing a trig to insert a length as per the
duration of the held trig.
• Press [NO] to remove a note trig or add a rest into a step.
• Existing parameter locks when placing a new note step will remain.
9. In step recording mode, pressing [PLAY] and [STOP] operate as normal

which allows step recording while playing.
The [FUNC] + [NO] to reload a pattern and [FUNC] + [YES] to save a pattern do not operate in this way
when in step recording mode. These actions adapt to the step recording functionality.

Pattern Basics 4
NOTES
▌ADDING PARAMETER LOCKS DURING STEP RECORDING.
Parameter locks are automatically created when recording for the NOTE
and length LEN trig parameters in step recording mode.
1. Select step recording mode.
2. To add a parameter lock, hold TRIG [1] … [16] + turn the control for the
parameter to adjust and lock into the trig.
3. Parameter will invert bold yellow on the display..
4. While in a recording mode the trig key will be yellow where parameter
locks for trigs (no note) exist. Where note trigs exist the trig key will
indicate red (priority).

4 Pattern Basics
NOTES
Step recording is similar to grid recording and can also use the track note
and quick note entry options when programming steps in the same way as
described in grid recording. This applies to both standard and jump mode.
▌STEP RECORDING USING TRACK NOTE.

3. Select a start point trig step. The green blinking trig key will indicate the
4. Press [LEFT], [RIGHT] also to relocate the step position.
5. Press the desired TRIG [1] … [16] + [TRACK NOTE]. The track note
options are displayed. This allows any note options such as octave,
keyboard scale, key etc.
6. Play the TRIG Keyboard to set individual notes or chords into the trig
step. Press a note again to remove it. The display shows selected notes
and they appear lit red on trigs.
7. Press [YES] to confirm notes entered to the step and exit the track note
function.

Pattern Basics 4
NOTES
▌QUICK NOTE RECORDING A PATTERN IN STEP REC MODE

3. Select a start point trig step. The green blinking trig key will indicate the
4. Press [LEFT], [RIGHT] also to relocate the step position.
5. Press and hold the desired TRIG [1] … [16] + [UP] or [DOWN]. The
quick note options are displayed at the top of the screen.
6. While still holding the TRIG, set the notes by:-
• Press [UP] or [DOWN] to select the active keyboard note. Selecting

a new root note will also move associated additional notes relatively.
• Press [FUNC] + [UP] or [DOWN] to adjust active note pitch up and

down in increments of one octave.
• Press [YES] to add a new, additional note on the step. The active
note will step forward. Use [UP] or [DOWN] to move the note.
• Press [LEFT] or [RIGHT] to select an existing note on a step. Use

[UP] or [DOWN] to move the note.
• Press [NO] to remove an existing note (the last added note).
5. Release TRIG to exit.
6. Press [REC] to exit step record mode.

4 Pattern Basics
4.10 Additional Recording Information NOTES
Recording can be made on the Digitone or with an external MIDI controller /

keyboard. The MIDI set up details are covered in more depth in the MIDI &
USB Section. Also note preview is a useful tool when programming and
developing patterns.
• Grid recording. Press [FUNC] + [LEFT], [RIGHT] to shift recorded trigs.
• Grid and Step recording. The Digitone AUTO CHANNEL setting can be
used as the controller channel when recording in. This is detailed in the
MIDI section.
• Grid recording mode. NOTE and TRIG VELOCITY data when holding a
[TRIG] key and playing a note on the external controller will record the
parameter locks.
• Live recording mode. NOTE, TRIG VELOCITY, and TRIG LENGTH data
is recorded from the external keyboard by the sequencer.
• Grid recording mode. Chords can be added to every trig on MIDI

Tracks. TRIG VELOCITY is set from the first note, applied to all notes
on the trig.
• Live recording mode. Chords can be added to every trig on MIDI

Tracks. TRIG VELOCITY is set from the first note, applied to all notes
on the trig. The last note that is released sets the TRIG LENGTH for all
notes on the trig.
• Step recording. Velocity is recorded in from the external controller and is

assigned as a VEL parameter lock to the trigs unless [FUNC] is held
while recording in which case the VEL parameter will be retained as a
fixed value.
• Step recording. Holding [YES] on Digitone while recording will record in

the note length played on the controller.
• The trig keyboard is set up in the TRACK NOTE options.

Pattern Basics 4
NOTES
Summary of available functionality within recording modes.
Function Grid Live Step Comments / Notes

Select mode [REC] [REC] + [PLAY] [REC] + [STOP]
REC button state Red Flash Red Flash x2 Red
Play Yes Yes Yes Playback by default in live mode
Note placement Per Trig Play In Play In
Note removal Trig - [NO]
Note preview Yes Yes Yes Audible preview of note + locks
Shift notes Yes No No [FUNC] + [LEFT], [RIGHT]
Chromatic No Default [FUNC] Trig keyboard
Velocity Fixed Fixed Fixed Trig page VEL

Internal Recording
Velocity Controller Controller Controller Step Rec options available
External Controller
Note Chords Yes Yes Yes Velocity dependant on rec mode
MIDI Tracks
Step rec automatically records
Trig length LEN Play In Various length options.
Auto channel Yes Yes Yes To record into MIDI.

External Controller
Track Note Yes No Yes Trig keyboard is automatic

Recording Mode
Quick Note Trig Keyboard can be used with

Recording Mode
Yes No Yes FUNC button

4 Pattern Basics
4.11 Playing / Previewing Patterns NOTES
Playback is available during recording and operates slightly differently in

the recording modes. For example live recording operates while playing.
Trig preview is also a useful tool when programming and developing
patterns.
▌PLAYING THE PATTERN
1. Press [PLAY] button. Button is lit green.
2. The red cursor steps through the sequence triggering the set trigs. In
grid rec mode the cursor is white and set trigs red.
3. Any pattern changes during the playback will queue up and await the
current pattern to be completed before changing.
4. Press [PLAY] to pause playback at current step. Play lit green and stop
lit white. Pressing [PLAY] again resumes playback.
5. Press [STOP] to stop playback and reset play head to start.
▌PREVIEWING A SINGLE STEP
This feature allows the audible previewing of individual steps including its
parameter locks. This function is available for both Synth and MIDI tracks.
This function operates in recording mode.
1. Ensure GRID or STEP Recording mode is selected.
2. Press and hold a TRIG [1] … [16] + [YES] to audition the selected trig.
3. The trig will be audible and any settings and trig locks will also be
auditioned.

Pattern Basics 4
NOTES 4.12 Pattern Timing Options
Digitone has some advanced settings for sequence timing in addition to the
standard quantization. These include quantization, retrigs, micro timing and
swing settings.
Function Parameter Location Button

Global Quantization Settings > Pattern Menu [SETTINGS] > PATTERN
Track Quantization Settings > Pattern Menu [SETTINGS] > PATTERN
Micro Timing Micro Timing Pop-Up Menu Trig [1] … [16] + [LEFT] or [RIGHT]
Swing Tempo Menu [TEMPO]
▌QUANTIZATION SETTINGS
1. Press [SETTINGS] to select the settings menu options.
2. Turn (LEVEL/DATA) or press [UP], [DOWN] to highlight PATTERN.
3. Press [YES] to select.
4. Turn (LEVEL/DATA) or press [UP], [DOWN] to highlight QUANTIZE.
6. Turn (F) rotary to change GLOBAL Quantization setting between 0-127.

The higher the setting the more quantization is applied to all micro
timed and off grid trigs on all tracks.
7. Turn (E) rotary to change the current TRACK quantization to a value

between 0-127. higher the setting the more quantization is applied to
the selected track’s micro timed and off grid trigs.
8. Press [NO] to back up in the menu and exit the pattern options.
Note, that the parameter changes adjust the quantization in real time

4 Pattern Basics
NOTES
▌SETTING PATTERN SWING
1. Select [TEMPO] Menu.
2. Turn (E) rotary to select the swing setting for the current pattern.
3. Settings are between 50% - 80% as indicated in the display with 50%
being the default ‘no swing’ setting.
4. Press [NO] or [TEMPO] again to exit.
▌SETTING INDIVIDUAL TRIG MICRO TIMING
1. Select GRID RECORDING mode by pressing [REC]. Button lit solid red.
2. Press and hold the desired step TRIG [1] + [16] + [LEFT] or [RIGHT].
3. The micro timing pop up grid display appears.
4. While still holding TRIG, adjust the micro timing using [LEFT] or
[RIGHT].
MICRO TIMING
On GRID
Select Micro Timing. Resolution Micro Timing Adjustment
Hold Trig [1] … [16] + [LEFT] or Defined resolution steps Use [LEFT] or [RIGHT] to
[RIGHT] to open settings pop up shift the trig timing back adjust the micro timing of the
or forth in the sequence selected trig.
+/-
1/384 1/192 1/96 5/384 1/64 7/384 1/48 1/96 3/128
5/192 11/384 1/32 13/384 7/192 5/128 1/24 17/384
3/64 19/384 5/96 7/128 11/192 23/384
Setup in Grid Recording Mode
Micro Timing settings are stored with the active pattern

Pattern Basics 4
NOTES 4.13 Copy, Paste and Clear Trigs in Grid Recording
The copy, paste and clear features are available for trigs and their
parameter locks within the pattern. The sequencer must be in GRID
RECORDING mode for these functions to operate.
EXAMPLE:
Copy from Trig Step 1 and Paste to Step 13, Clear Trig 15
GRID RECORDING MODE
COPY / PASTE
X
copies trigs including parameter locks

TRIG
Copy Paste
1 13
Hold Trig [1] + [REC] Hold Trig [13] + [STOP]
Track 1
1 13 15
Clear
15
Hold Trig [15] + [PLAY]
CLEAR
▌COPYING ONE TRIG TO ANOTHER STEP LOCATION
1. Press [REC] to select GRID RECORDING Mode.
2. Press TRIG [1] … [16] + [REC]. This copies the selected trig and also
its parameter settings.
3. Press TRIG [1] … [16] + [STOP]. This pastes the previously copied trig
into the destination step selected.

4 Pattern Basics
NOTES
▌COPYING MULTIPLE TRIGS TO OTHER STEP LOCATIONS
2. Select all of the source trigs to copy. Press TRIG [1] … [16] + [REC].
This copies the selected trigs and also its parameter settings. The first
trig selected acts as the reference trig.
3. Press TRIG [1] … [16] + [STOP]. This pastes the previously copied trigs
into the destination step selected plus any additional trigs are placed
based on their copied position referenced from the first trig.
▌CLEARING ONE TRIG LOCK
2. Press TRIG [1] … [16] + [PLAY]. This clears the selected trig locks.
▌CLEARING MULTIPLE TRIG LOCKS
2. Press and hold multiple TRIG [1] … [16] + [PLAY]. This clears the
selected trig locks from all selected steps.

Pattern Basics 4
NOTES 4.14 Copy, Paste and Clear Patterns
The copy, paste and clear features are also available when working with
Digitone for patterns in play (not in recording) mode.
EXAMPLE:
Copy from current pattern A2 to a new pattern B6
NOT IN RECORDING MODE NOT IN RECORDING MODE
Pattern 2 Pattern 6
Bank A Bank B
Select the current Bank + Pattern Select the current Bank + Pattern
Copy Clear Paste

Press [FUNC] + [REC] Press [FUNC] + [PLAY] Press [FUNC] + [STOP]
COPY CLEAR PASTE
PATTERN
▌COPYING CURRENT PATTERN TO ANOTHER PATTERN SLOT
1. Press [BANK] + [A] … [H] and then Pattern [1] … [16] to select the
pattern to copy. From the current bank use [PTN] then [1] … [16].
2. Press [FUNC] + [REC] to copy the current pattern.
3. Press [BANK] + [A] … [H] and then Pattern [1] … [16] to select the
pattern to copy. If its from the current bank use [PTN] + [1] … [16].
To copy into the same bank use [PTN] then [1] … [16].
4. Press [FUNC] + [STOP] to copy the previously selected pattern to the

newly selected, current pattern slot.

4 Pattern Basics
NOTES
▌COPYING / PASTING WITHOUT LEAVING THE PATTERN
1. Press and hold [PTN] + TRIG [1] … [16] to select the pattern to copy
2. While still holding [PTN], release the TRIG key.
3. Press [REC] to copy while still holding [PTN].
4. Press TRIG [1] … [16] to paste as the destination.
5. Press and hold [STOP] to paste and await the countdown to finish.
6. Release all keys.
▌CLEARING THE CURRENT PATTERN
1. Within the selected pattern, hold [FUNC] + [PLAY].
▌CLEARING ONE OR MORE PATTERNS
1. Press [PTN] + TRIG (or multiple trigs) [1] … [16].
2. While still holding [PTN], press [PLAY] to clear the selected patterns
until the timer completes.
3. Release all keys.
▌UNDOING A PRIOR COPY, PASTE, CLEAR ACTION
1. Undertake a copy, paste, clear action.
2. Immediately after initiating the action in Step.1, repeat the key press to
undo the prior action.
Examples
[FUNC] + [REC] to Copy ......... [FUNC] + [REC] To Undo
[FUNC] + [PLAY] to Paste ........ [FUNC] + [PLAY] To Undo
[FUNC] + [STOP] to Clear ........ [FUNC] + [STOP] To Undo

Pattern Basics 4
NOTES 4.15 Basic Muting of Tracks
Patterns are hosted in each of the four Digitone tracks. Tracks are selected
for editing and all play together in sync. Two mute modes exist (Global /
Pattern) and these are covered later. The basic muting process covered
here. Muting tracks adds to the creativity especially when playing out live.
▌MUTING A TRACK WHILE PLAYING
1. Play a pattern [PLAY]. The track button illumination follows the triggers
in the track.
2. Press [FUNC] + [BANK] to enter mute mode. BANK button is dimly lit.
3. The active unmuted track buttons are brightly lit.
4. Press any TRACK button [T1], [T2], [T3], [T4] to mute the selected
track. Example, press [T1] to mute Track 1.
5. Muted tracks are shown on the track buttons as unlit.
6. Press any muted TRACK button [T1], [T2], [T3], [T4] to unmute the
selected track. Example, press [T1] to unmute Track 1.
7. Press [FUNC] + [BANK] again to exit mute mode.

NOTES

5
Patterns Advanced
Having covered the basics of pattern creation, per step. Patterns can be also chained which
this section provides a deeper dive into the allows sequential playback of a number of
features and parameters that unlock the full patterns. Song mode allows more elaborate
power of sequencing within Digitone. The key development of sequences of patterns. In Song
page when working with patterns is the [TRIG] mode patterns can be assembled into a full
page and its settings and this is therefore given production and entire arrangements created.
close attention within this section. The Other more advanced feature expand the
assembly of a series of steps and trigs into an options. A temporary save and reload function
arrangement creates melodic patterns. opens up more creative opportunities especially
Patterns are at the heart of Digitone and these when playing live. When navigating the pattern
are arranged within the powerful sequencer and other menus the location in the menu
and its associated feature set. The sequencer structure will remain at the previous position. The
is enhanced by complex functions such as trig instructions given here assume a start at the top
conditions where patterns are governed by rule menu. If needed, press [NO] from within the
sets, parameter locks where parameter menu repeatedly to take the location back to the
variations for each step can be created and highest entry level in the menu structure.
sound locks where unique sounds can be set

5 Patterns Advanced
5.1 Trig Page - Synth.
The trig page shows the fundamental settings applied to trig steps. Trig page parameters are saved
with the pattern (not with the sound). The trig pages are different in synth and MIDI mode. All
parameters with the exception of COND can be set to defaults. COND can only be set as a
parameter lock by holding a TRIG + Turn (D) and is only accessible in a recording mode.
SYNTH TRACKS 1-4
A ROOT B VEL C LEN D PROB
Default note for the trig placed Sets the velocity of the trig Sets the length of the selected Sets the probability of the
on the step. Multiple notes offset note. Trig keys are not directly trig. Press & turn for stepped trigger step triggering. Record
from root can be added to a step. velocity sensitive. values. Live recording overrides mode enables COND which
LEN parameter. sets logical rules for
determining the step operation.
C0(0) - G10(127) Default C5(60) 0-127 - Default 100 0.125 -127,INF - Default 1/16 0-100% ,Default 100%
E FLT.T F LFO.T G PTIM H PORT
Filter Trigger. Sets whether the LFO Trigger. Sets whether the Portamento time. Slide from Enables portamento on or off.
filter envelope is triggered or not. LFO envelope is triggered or not. one note to another.
ON, OFF - Default On ON, OFF - Default On 1-128 - Default 40 ON - OFF - Default = Off
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [TRIG] key.
Press (DATA ENTRY) + [NO] to reset parameter to default. Press [TRIG] + [PLAY] to reset all TRIG page parameters to defaults. Copy [TRIG] +
[REC] and Paste [TRIG] + [STOP] also operate within and across the TRIG pages

Patterns Advanced 5
NOTES
TRIG Page functions
Root
Notes can be recorded with chromatic
trig keyboard or external controller. G5
Additional notes can be added on each (67)
step to make chords
E5
(64)
ROOT
C5 G5 D5 C6 C5 E5
(60) (67) (62) (72) (60) (64)
Velocity
Fixed when recording unless
using an external keyboard. Set TRIG TRIG TRIG TRIG TRIG TRIG
velocity manually on each trig.
1 3 5 7 11 13
Track 1
1 8 16
Portamento Length
Slides from the note to the next. This PORT Note length can be set in the TRIG page
can be set on or off with PORT and the LEN. This is also set automatically when
time PTIM adjusted.Further behaviour recording live mode and is used to record
settings are available in the Sound in step mode.
Setup [FUNC] + [TRIG] Page
PTIM
Notes on Probability
The probability setting is accessed by rotary (D) and can be set to 0%

where the trig will never play or 100% where it will play each trigger.
Anywhere in between will set the chance of the trigger playing.
When in record mode and when holding a TRIG button, this function under
control of (D) switches to conditional trigger settings. A range of functions
exist to set trig conditions.
Trig conditions take priority and override the probability setting.

5 Patterns Advanced
5.2 Trig Page - MIDI.
The MIDI Trig page appears when working in MIDI mode. The parameter set is a limited version of
that seen in synth tracks. COND can only be set as a parameter lock by holding a TRIG + Turn (D)
when in a recording mode.
MIDI TRACKS 1-4
on the step. Multiple notes offset note. Trig keys are not directly trig. Press & turn for stepped trigger step triggering. Record
from root can be added to a velocity sensitive. values. Live recording overrides mode enables COND which
step. LEN parameter. sets logical rules for
C0(0) - G10(127) Default C5(60) 0-127 - Default 100 0.125 -127,INF - Default 1/16 0-100% ,Default 100%
E F LFO.T G H
LFO Trigger. Sets whether the
LFO envelope is triggered or not.
ON, OFF - Default On

Patterns Advanced 5
NOTES 5.3 Basic Trig Page Set Up.
▌SETTING THE DEFAULT TRIG PARAMETERS
1. Press [TRIG] parameter page button to open theTRIG page.
2. Turn the data entry rotaries to adjust the parameters; (A) Root note, (B)
VELocity, (C) LENgth, (D) PROBability, (E) FLT.T Filter, (F) LFO.T, PTIM
Portamento time and PORT to turn portamento on or off.
3. These default values as set will be applied to any TRIG [1] … [16] steps
that have been set.
▌SETTING A PARAMETER LOCK TO A TRIG
1. Press [TRIG] parameter page button to open the TRIG page.
2. Hold the TRIG key [1] … [16] + Adjust (A) … (H) depending on
parameter required to set.
3. The parameter setting will be applied only when the parameter locked
trig is triggered.
4. Parameter locks appear yellow bold inverted on the locked parameter

on the TRIG page when a trig is pressed.
▌ADJUSTING SYSTEM TRACK LEVEL
1. Select any parameter page, example [TRIG].
2. Turn the (LEVEL/DATA) rotary control.
3. The value of the track level (displayed bottom left) will adjust 0-127.

5 Patterns Advanced
5.4 Adding Lock Trigs to a Pattern
While Digitone has Note trigs assembled into a pattern to activate note events it also has a feature
called Lock Trigs which do not trigger any note or audio events but only trigger parameter changes
known as parameter locks. This enables variations and evolving progressions through the sequence.
LOCK TRIG
A parameter lock is where a parameter is set to a
defined value for the specific trig step. This
Parameter Pages Events set at a defined step in enables one or more parameter changes per step
These parameters are available
for parameter locks. the sequencer that triggers of the sequenced pattern
parameter changes but does
not trigger notes. When
combined with others, is A sound lock is where an individual sound is
assigned from the sound pool to one or more trig
arranged to create variation steps. This enables a unique sound change per
within a pattern step of the sequenced pattern
Lock trigs are added by pressing

[FUNC] + TRIG [1] ...[16] + 5
4 5
Lock
YELLOW keys contain lock trigs (with no note trig). Note Trigs are
Max 80 different parameters locked per pattern
RED and parameter locked trigs blink. Unlit keys contain no trigs.
1 16
Track 1
TRIG page
Trig page is treated differently. Some parameters by default don't make logical sense to be parameter locked without a note. For
example note length needs a note to be valid. Locks on the TRIG page don’t behave the same as other pages. Parameter locks
set on the TRIG page do not show as flashing on the trig keys.

Patterns Advanced 5
NOTES
▌SETTING PARAMETER LOCK TRIGS IN GRID RECORDING MODE
1. Press [REC] to select GRID RECORDING mode.
2. Press and hold [FUNC] and press a TRIG [1] + [16].
3. A lock trig is set on the selected step. The trig button illuminates yellow
indicating that only a lock trig present and no note trig (which would
therefore be red).
4. To assign a parameter lock, hold the [TRIG] step and make an

adjustment to a parameter on one of the parameter pages. Example:
[AMP] Page, pan setting PAN, data entry (G). The parameter will show
inverse bold yellow on the display.
5. The trig will flash yellow where a SYN1, SYN2, FLTR, AMP or LFO
parameter lock is assigned and will apply the parameter to the new
state when the step triggers.
▌SETTING PARAMETER LOCK TRIGS IN LIVE RECORDING MODE
1. Press [REC] + [PLAY] to select LIVE RECORDING mode.
2. To assign a parameter lock, make an adjustment to a parameter on the

parameter pages or play chromatic notes. Example: [AMP] Page, pan
setting PAN, data entry (G).
3. Changes are recorded and when in grid recording mode, the parameter
will show inverse bold yellow on the display when held.
4. The trig key will be yellow with a lock trig and flash with a parameter
lock assigned and will adjust to the parameter as the step triggers.

5 Patterns Advanced
NOTES
▌REMOVING A SINGLE LOCK TRIG PARAMETER
1. Press and hold TRIG [1] … [16] for the selected step.
2. While holding the trig key, press the data entry (A) … (H) control of the
parameter to remove.
3. The lock trig will stop flashing unless other parameter locks exist on the
same step.
4. The parameter will be reset to default.
▌REMOVING ALL LOCK TRIGS ON A TRIG
1. Remove the note trig and re-enter the note trig
2. All trigs on the step are removed. Button is unlit.

Patterns Advanced 5
NOTES 5.5 Sound Lock Basics.
Digitone has the ability to apply a unique sound patch to each trig. This
adds more variation and increases creativity options. A quick start
introduction to applying sound locks is covered here.
Sounds must be available in the sound pool in order to use for sound locks.
▌SETTING SOUND LOCK TRIGS IN GRID RECORDING MODE
2. Press and hold the TRIG [1] … [16] + Turn (LEVEL/DATA) control to
assign a sound to the trig.
3. The sound pool list will appear and scroll to the desired selection using
the (LEVEL/DATA) control. Sound must exist in the track pool.
4. Release the TRIG key on the selected new sound.
5. The TRIG [1] … [16] selected will flash indicating it has a sound lock
applied.
▌CHECKING SOUND LOCK TRIGS IN GRID RECORDING MODE
2. Hold a sound locked TRIG [1] … [16].
3. The display indicates the attached sound in the title area of the display.
▌REMOVING SOUND LOCK TRIGS IN GRID RECORDING MODE
2. Press and hold the TRIG [1] … [16] + Turn (LEVEL/DATA) control to
remove a sound from the trig.
3. The sound pool list will appear and scroll to the TRACK SOUND option
using the (LEVEL/DATA) control.
4. Release the TRIG key on the TRACK SOUND option.
5. The sound will be removed and revert to the original track sound

5 Patterns Advanced
5.6 Conditional Trig Locks and Note Probability
Note probability is the ability to set a trigger ‘chance’ i.e. the percentage chance the trig step has of
playing in the pattern cycle. Probability is set on the TRIG page using its rotary control. Conditional
locks are are also set on the same control, which is available when holding a trig step in record
mode. Conditional locks are set just like parameter locks and apply a set of defined rules to the
selected trig step that must be fulfilled to enable the trig step to be triggered. Conditional trigs offer a
great way to develop complex and evolving patterns especially in combination. Conditional trigs
have the priority and override the probability setting if set on the same track / trig.
TRIG Page
NOTE PROBABILITY
Default option is note probability. Adjust the control
to set the % probability of the note triggering.
TRIG
select trig page turn
+ D
In grid or step
recording mode
CONDITIONAL TRIGS
When in record mode, apply a trig and then hold the TRIG Key [1] … [16] and adjust (D).
PROB parameter switches to COND when in grid or step record mode and the Trig is held.

Patterns Advanced 5
NOTES
Probability Explained
Probability assesses each of the trigs on every cycle of the pattern and
decides whether to activate / trigger the trig or not. The chance of triggering
is variable, where 100% Probability means steps trigger every time as
normal and 0% would not trigger at all on any cycle of the pattern.
Note: Any trig condition locks that have been set will take priority over the probability %.
Examples
0% 25% 66% 100%
Steps will not trigger on Steps have a 1 in 4 chance Steps have approximately Default probability meaning
any pattern cycle. each cycle of triggering. a 2 out of 3 chance of every trig step triggers
triggering each cycle. normally each cycle
1 16 1 16
Track 1 Track 2
40% 0%
Notes will only trigger based on Notes will never trigger based on
the % probability giving a the % probability giving a no
random-like output. output.
1 16 1 16
Track 3 Track 4
100% 80%
Notes will always trigger based Notes will trigger based on the %
on the % probability giving a probability giving a random-like
normal output. output.
Probability
While the examples here describe in terms of an X in Y chance, the triggering does not
follow a defined or regular pattern of triggering or cycle. Digitone randomly sets when it
will trigger. This randomisation is based on the selected and set probability defined on
the specific trigger step. So for 50% the trigger will not necessarily be every second step
but generally will trigger 50% of the time for each cycle.
Probability is set in the [TRIG] page using control (D)
Conditional Locks take precedence over probability so if the conditional probability is also set, then this will be
applied. Ensure conditional trigs are off if not required - TRIG [1] … [16] + press (D)

5 Patterns Advanced
Conditional Locks / Trig Conditions Explained
Conditional trigs offer a great way to develop complex and evolving patterns set with parameter
locks which apply a set of rules to the trig step. These predefined rules must be fulfilled to enable
the trig step to operate. This mode is available ‘under’ the PROB parameter available while the Trig
step is held when Digitone is in grid or step record mode.
The rules for trig conditions are set using parameter locks. A trig needs to be set first for the chosen
rule to act upon. The condition rule set will determines how the trig behaves in the pattern
sequence. Conditional locks take precedence over the probability setting.
FILL
FILL FILL
Activates the trig and applies a fill on the A trig is active when fill is not applied. Fill
chosen trig step. Fill is triggered when is applied on the chosen trig step but
the fill mode is activated. does NOT apply the fill while ever the fill
mode is activated.
FILL MODE
Fill mode is a function that temporarily adds fills and variations such as drum roll at the end of a bar.
This creates more interest in a pattern or at pattern change / cycle end. Fill mode is pre-requisite in
the use of the Fill trig conditions. Fill mode would need to also be set on the same step as the fill
condition and would then be triggered by:-
• Manually pressing [PAGE] key during pattern playback at any time. (Not available in grid
recording mode).
• A cued one pattern cycle during pattern playback. Set by pressing [YES] + [PAGE] Button to
cue the pattern for a fill. (Not available in grid recording mode)
• Latch fill mode ON. Set by [PAGE] + [YES] then release [PAGE] first, followed by [YES].
Press [PAGE] to unlatch fill mode OFF.
FILL FILL
Only triggers when Triggers when FILL
FILL mode is active mode is NOT active
1 16
Track 1
As well as COND being set to FILL the step would also need a fill setting such as a retrigger to generate a
drum roll and then this would only trigger when FILL is activated manually, one cycle or on latch.

Patterns Advanced 5
NOTES
▌SETTING UP A FILL
1. Select GRID RECORDING or STEP RECORDING mode.
2. Press TRIG [1] … [16] to set a trig in a pattern where a fill is needed.
3. Set the action within the Trig that would be triggered. For example, this
could be simply be a note being triggered to create a roll.
4. Select the [TRIG] Page.
5. Press and hold TRIG [1] … [16] which is the target for a fill condition.
6. Turn (D) data entry rotary to set up COND = FILL on the target trig.
7. Turn GRID RECORDING or STEP RECORDING off
8. Press [PLAY] to play the pattern.
9. Press [PAGE] while playing to trigger the fill condition as set on the
selected trig(s).
10. Press [YES] + [PAGE] and the fill will be activated only on the next cued
cycle.
11. Press [PAGE] + [YES] then release [PAGE] first. This latches FILL on.
Press [PAGE] again to unlatch i.e. fill mode off.
Example
FILL
Only triggers when
FILL mode is active
1 16
Track 1
FILL When a fill is activated by pressing

Does not trigger when [PAGE], track 1 will play the end of
FILL mode is active bar fill roll, while track 2 will not
play the end of bar sequence
1 16
Track 2
Trig set i.e Note

Trig FILL condition set
Trig FILL condition set
No trig set

5 Patterns Advanced
NOTES
PRE
PRE
Applies the trigger on the chosen step when a

previous, most recent trig condition event on the same
track is triggered true. Will not trigger if the prior trig
condition is ‘false’.
PRE
Does NOT apply a trigger on the chosen step when a

previous, most recent trig condition event on same track
is triggered true. Equally this trig will operate if the
previous, most recent trig condition prior is ‘false’.
Example
PRE
Triggers when a previous trig
condition, same track has
been triggered.
Track 2
Trig set i.e Note PRE

Trig condition set
Does NOT trigger when a
No trig set
previous trig condition, same
track has been triggered.
PRE Conditions are dependant on the most recent trig conditions true / false state (not
just note trig) on the same track immediately prior to the trig on which it is placed.

Patterns Advanced 5
NOTES
NEI
NEI
Applies the trigger on the chosen step when a previous

trig condition event on the neighbouring (one prior)
track is triggered. Will not trigger if the prior track
condition is ‘false’ i.e. inactive.
NEI
Does NOT apply a trigger on the chosen step when a

trig condition event on the neighbouring (one prior)
track is triggered. Equally this trig will operate if the
previous, most recent trig condition prior track is not
‘true’ i.e. active.
Examples
1 16
Track 1
Track 2
NEI NEI
Triggers when a previous trig Triggers when a previous trig
condition, neighbouring track has condition, neighbouring track is
been triggered ‘true’ and is active not triggered / inactive.
Trig set i.e Note

Trig condition set
No trig set
NEI Conditions are dependant on the most recent trig conditions (not just note trig) true /
false state on the previous neighbouring track prior to the trig on which it is placed.

5 Patterns Advanced
NOTES
1ST
1ST
Applies the trigger on the chosen step when the

pattern plays its first loop. Will not trigger on
subsequent pattern cycles.
1ST

pattern plays on any loop cycle except the first loop.
Will not trigger on the first loop of a pattern cycle.
Examples
Track 2
1ST
Will trigger on the 1st pass
only of the loop cycle
PATTERN LOOP 1
1ST
PATTERN LOOP 2 Will trigger on the all loop
cycles except the first loop.
Count Reset
PATTERN LOOP 3
PATTERN LOOP 4
Trig set i.e Note

Trig condition set
No trig set
1ST Conditions are dependant on the loop cycles. Restarting a paused loop does not
reset the loop cycle counter. The 1st cycle is only recognised when a cycle is stopped
and then started.

Patterns Advanced 5
NOTES
A:B
A:B
Sets the cycles looped before triggering and the total

cycles played before the cycle counter resets.
Example
Track 2
2:4
Will trigger on the 2nd cycle of a 4 cycle loop
count and reset at the end of 4th cycle.
PATTERN LOOP 1
A
Is the number of the loop within the
PATTERN LOOP 2
cycles before the trigger is active. In
this example A=2.
Count Reset
PATTERN LOOP 3
B
PATTERN LOOP 4 Is the number of loop cycles before
the count resets. In this example B=4.
1:2 2:4 3:4

Trigger is active on first loop, Trigger is active on second loop, Trigger is active on third loop,
then third, fifth of new cycles etc. then sixth, ten ie on each next then seventh, eleventh i.e. on
The loop count reset is every cycle. Loop count reset is end of each of the new cycles. The loop
second loop. fourth loop. count reset is every fourth loop.
Trig set i.e Note

Trig condition set
No trig set
A:B Conditions are dependant on the loop cycles and the condition initiates a trigger and
also a reset of the counter.
Options available are 1:2, 2:2, 1:3, 2:3, 3:3, 1:4, 2:4, 3:4, 4:4, 1:5, 2:5, 3:5, 4:5, 5:5, 1:6,
2:6, 3:6, 4:6, 5:6, 6:6, 1:7, 2:7, 3:7, 4:7, 5:7, 6:7, 7:7, 1:8, 2:8, 3:8, 4:8, 5:8, 6:8, 7:8, 8:8.

5 Patterns Advanced
NOTES
X%
X%

pattern plays at the probability percentage giving an
almost random like feel. Range is 1-100%
Examples
100% 75%
Trigs will always trigger based on Notes will trigger based on the %
the % probability giving a normal probability giving a random-like
output. output favouring on state.
1 16
Track 1
50% 0%
Notes will only trigger based on Trigs will never trigger based on
the % probability giving a the % probability giving no
random-like 50/50 output. output.
Trig set i.e Note

Trig condition set
No trig set
X% Conditions are dependant on the ‘chance’ of a trig activating. This is similar to a

random (within the % constraints) setting. While the functionality is similar to the
dedicated probability function, the condition trig can operate and interact within the
other conditional trig functions. Conditional trigs take precedence over the dedicated
probability setting.

Patterns Advanced 5
NOTES 5.7 Portamento.
Portamento is the musical term for a slide from one note to another. This
gives a glide of the pitch between notes.
Portamento is selected and time set on the [TRIG] page but also has
configuration settings in the setup page [FUNC] + [TRIG].
▌SETTING PORTAMENTO ON / OFF
1. Press [TRIG] to open the TRIG page.
2. Turn (H) to switch PORT - Portamento On or Off.
3. Turn(G) to adjust PTIM - Portamento time between 1 - 128. This affects

the time between the notes. Lower numbers are faster.
4. When playing the keyboard notes the effect can be heard.
5. Hold Trig [1] … [16] to apply a trig and adjust (H) and (G) to lock a
portamento setting to the trig step.
PORT
Portamento On/Off
(H)
PTIM
Portamento Time
(G)

5 Patterns Advanced
NOTES
Portamento Settings
+ PORTAMENTO
Portamento
Trig with portamento
set to PORT On
TYPE
Notes played normally, stepped

discretely at their defined note value
1 16
Track 1
Voice F3 C5 F3 C5
8 16 8 16
Legato Only
Note glides from previous value

to the triggered step note
determined by PTIM
Portamento: Glide mode is a smooth transition
Portamento: Glissando mode is a quantized to

semitones. May seem audibly ‘steppy’
Amount: Sets a shorter glide. The lower the number

the shorter the glide length to its target note.
100 0
C5 Note Off
16
Off
On
Gating: When OFF glide continues

after note is released and when ON
Trig set i.e Note
will stop at the note off.
Trig + Portamento
No trig set

Patterns Advanced 5
NOTES
▌CONFIGURING PORTAMENTO SETTINGS
1. Press [FUNC] + [TRIG] to open the SETUP page.
2. Turn (LEVEL/DATA) or press [UP], [DOWN] to navigate and highlight

PORTAMENTO.
3. Press [YES] to select the options.
4. Turn (LEVEL/DATA) or press [UP], [DOWN] to navigate and highlight

the desired function:-
• TYPE: Use [LEFT] [RIGHT] to edit

Track: Pitch glides from last note triggered to the new target note.
Voice: Pitch glides from last note triggered by a specific voice to the
new target note played by the same voice.
Legato Only: Pitch glides from last note held / retained to the new
target note on the track.
• SLOPE: Use [LEFT] [RIGHT] to edit

Constant Rate: Linear glide at constant rate, completion time
aligned to glide time.
Constant Time: Linear glide at a fixed time length irrespective of
start and end notes.
• AMOUNT: Turn any (DATA ENTRY) Rotary to change

Sets a shorter glide so only the last part of a glide is captured. Low
settings nearer to 0 means a shorter glide to target note. 100 means
the full glide time is carried out.
• STYLE: Use [LEFT] [RIGHT] to edit

Glide: Smooth and subtle transition with continuous note.
Glissando: More aggressive, quantized to semitones.
• GATING: Use [LEFT] [RIGHT] to edit

Off - Checked: When the note is released glide will continue
On - Unchecked: Glide stops when note is released.
5. Press [NO] to back out of menu or press another option i.e. [TRIG] to
exit the menu.

5 Patterns Advanced
5.8 Managing Patterns NOTES
Patterns are mainly managed from within the PATTERN management

menu, located in the [SETTINGS] functions. Some pattern functions are
also available elsewhere, outside of the pattern menu.
PATTERN
PATTERN
Menu option selects pattern management for the currently selected working pattern. Use [UP] -
[DOWN] keys to navigate and [YES] to select and [NO] to cancel. Note the previous state menu
may be present when moving in and out of a menu. Use [NO] to move back through the menu.
QUANTIZE
Access to track and global
quantize settings
RENAME
Opens the renaming screen
and allows editing of the
pattern name.
CLEAR
Clears from working memory.
No data lost until the project is WHOLE PATTERN
saved. Both sequence and sound data is
saved, reloaded or cleared.
ACCEPT
SOUND DATA
SAVE TO PROJ The patterns data (sounds and
Saves the pattern to the
levels) only, sequence data
Project in the +Drive. Project
unchanged.
must have been saved first.
CANCEL / BACK
SEQUENCE DATA
The patterns sequence data only
RELOAD FROM PROJ (trigs, params, locks), sound data is
The pattern is reloaded from unchanged.
the project +Drive to working
memory. The pattern must IMPORT SOUND
have been saved first. from the +Drive to the active
pattern. [UP] [DOWN] or (LEVEL/
then TRACK
DATA) to choose sound. [T1] … [T4]
IMPORT / EXPORT
This feature enables sounds EXPORT SOUND
to be imported and exported from the pattern to the +Drive. [UP]
from +Drive to the active [DOWN] or (LEVEL/DATA) to
pattern. choose memory slot.
MANAGE SOUNDS
AUDIO ROUTING CANCEL
Sound manager options menu.
Selects global routing for the
pattern on or off.

Patterns Advanced 5
NOTES
▌SAVING A PATTERN - TEMPORARY
1. Press [FUNC] + [YES] to create a temporary save point for the current
tracks pattern.
2. Pattern is saved temporarily and not in the permanent memory storage.
▌RESTORING A TEMPORARY PATTERN
1. Press [FUNC] + [NO] to restore the pattern from the previous save point
2. If no previous save has been made the permanently stored pattern will
reload into the current track.
▌SAVING A PATTERN PERMANENTLY
1. Press [SETTINGS] to select the settings menu.
2. Turn (LEVEL/DATA) or [UP] or [DOWN] to highlight PATTERN. Press

[YES] to select the pattern menu.
3. Navigate to SAVE TO PROJ using [UP] [DOWN] or using (LEVEL/

DATA) control. Press [YES] to select.
4. Turn (LEVEL/DATA) or [UP] or [DOWN] to highlight whether to save

WHOLE PATTERN, SOUND DATA or SEQUENCE DATA.
5. Press [YES] to save and [YES] again to confirm.
▌OPENING / RELOADING A STORED PATTERN

3. Navigate to RELOAD FROM PROJ using [UP] [DOWN] or using

(LEVEL/DATA) control. Press [YES] to select.
4. Turn (LEVEL/DATA) or [UP] or [DOWN] to highlight whether to load

WHOLE PATTERN, SOUND DATA or SEQUENCE DATA. Press [YES]
to load and [YES] again to confirm.

5 Patterns Advanced
NOTES
▌CLEARING A PATTERN FROM WORKING MEMORY

3. Navigate to CLEAR using [UP] [DOWN] or turn (LEVEL/DATA) control.
4. Press [YES] to select
5. Turn (LEVEL/DATA) or [UP] or [DOWN] to highlight whether to clear

WHOLE PATTERN, SOUND DATA or SEQUENCE DATA.
6. Press [YES] to clear and [YES] again to confirm.
▌IMPORTING A SOUND TO THE PATTERN / TRACK

3. Navigate to IMPORT/EXPORT using [UP] [DOWN] or turn (LEVEL/

DATA) control.
5. Navigate to IMPORT SOUND with [UP], [DOWN] or (LEVEL/DATA).
6. Press [YES] to open the sound browser list.
7. Turn (LEVEL/DATA) or press [UP] [DOWN] to navigate to the desired

sound and press [YES] to select.
8. Select track to which the sound will be placed. Press [T1] … [T4] or
[NO] to cancel and exit.

Patterns Advanced 5
NOTES
▌EXPORTING A SOUND
1. Press [T1] … [T4] to select the track containing the sound to export.

4. Navigate to IMPORT/EXPORT using [UP] [DOWN] or (LEVEL/DATA).
6. Navigate to EXPORT SOUND with [UP], [DOWN] or (LEVEL/DATA).
7. Press [YES] to open the sound browser at the first free slot. Select a
new slot by turning (LEVEL/DATA) or press [UP] [DOWN].
8. Press [YES] to select. The naming menu will pop up to create a name
for the sound.
9. Press [YES] once a name has been edited to save.
10. The select meta data tags option is presented to add tags to the sound
in the sound browser. Select tags needed by highlighting the tag and
using [YES] to toggle selection on or off.
11. Select <SAVE> to save the sound and tags.

5 Patterns Advanced
5.9 Arpeggiator NOTES
Digitone has an arpeggiator, also called arp, built into each track. The arp is
only available for audio tracks and not MIDI. While the arp is explained here
as a pattern component it actually is part of, and saved with, the sound.
What is an Arpeggiator?
Based on the musical term arpeggio and often described as a broken

chord. Think of this as a sequencer within a sequencer. The arpeggiator
creates predefined note patterns, typically across a set chord or note group
and spans defined octave ranges. Arpeggios are useful in sound design
and can even be a core component in developing ambient, drone and pad
sounds and not just melodies.
▌ACCESSING THE ARP FUNCTION
1. Press [T1], [T2], [T3], or [T4] to select a track hosting the arp.
2. Press [FUNC] + [SYN1] to open the arp page.
3. Parameters are accessible from the page and the (DATA ENTRY)
controls.
• MODE - Mode: How the arpeggiator operates. Options are OFF,

TRUE, UP, DOWN, CYCL.
• SPD - Speed: Speed of the arpeggiator and is synchronized to the

project BPM.
• RNG - Range: Octave range of the arpeggiator operation.
• LEN - Length: Length of the arpeggiated notes.
• LEN - Arp Length: Length of the arpeggio up to 16 steps.
• OFS - Offset. Sets the offset note value of individual notes.
▌QUICK SELECTION OF ARP ON/OFF
2. Press [FUNC] + [TRACK NOTE] to toggle the arp off / on (in the mode
defined).

Patterns Advanced 5
NOTES
ARPEGGIATOR PAGE
+ ARPEGGIATOR Digitone Keys has a

dedicated ARP button
Speed. (B) Octave Range. (C)

Arp speed synced to BPM. Range over which the arp plays.
Play Mode. (A) Note Length. (D)

Controls how notes All Arp Notes.
are played.
Arp Length. (F)

Up to 16 steps.
Note Offset. (E)

Track. [Tx] Note value of each
Currently selected track. step based on scale.
Also shown in the page title
Example
Step, Currently Selected.

Use [LEFT] or [RIGHT] to select the step
+63
Available Step.
... Not selected, but played in arp.
+1
Arp Length.
0 Example set to 8 Steps
by turning (F).
-1
Offset Note.
-2 Offset from original note trig in semitones. The ‘Scale
Rest.
Deactivate a step with key’ in the TRACK NOTE menu is also relevant here.
-3 0
[DOWN], Reactivate with [UP].
...
-64
Step indicator.
Available and current steps. Does not animate playback in real time when playing.
To turn ON / OFF + LED indicates on when arp is running.

Press [FUNC] + [TRACK NOTE].

5 Patterns Advanced
NOTES
▌CREATING A BASIC ARPEGGIO
2. Press [TRIG] to open the TRIG page.
3. Turn (F) to set the LEN for individual steps or the track to ensure notes
are long enough for the arpeggio to play out.
4. Press [FUNC] + [SYN1] to open the ARP page.
5. Turn (F) to set the arpeggio length between 1-16 steps.
6. Turn (A) to select the mode: From OFF to TRUE, UP, DOWN or CYCL.
7. Turn (B) to set the speed of the arpeggio, this is synchronised to the
BPM of the project and options are; 1/1, 1/2, 1/3, 1/4, 1/5, 1/6, 1/8, 1/10,
1/12, 1/16, 1/20, 1/24, 1/32, 1/40, 1/48, 1/64, 1/80, 1/96.
8. Turn (C) to set the range of the arpeggio. The range is the shift upwards
in the octaves as the arp steps through its cycle. Each iteration will
move 1 octave up until the octave cycle range is completed and then it
will return to the original position and start the cycle again.
9. Press [FUNC] + [TRACK NOTE] to turn the arp on or off. The orange
LED will be on when the arp is running. Also in the arp page turning (A)
to any mode other than off turns the arp on.
▌PROGRAMMING NOTE OFFSETS IN AN ARPEGGIO
2. Press [FUNC] + [SYN1] to open the ARP page.
3. Press [LEFT] or [RIGHT] to select an arp step. The selected step will
show with a larger ‘note’.
4. Turn (E) to offset the note from the trig default. This is offset in
semitones.
5. Press [DOWN] to deactivate (rest) the selected step. Press [UP] to

restate an inactive step.
6. Press [FUNC] + [TRACK NOTE] to turn the arp on or off. The orange
LED will be on when the arp is running.

Patterns Advanced 5
NOTES
Arpeggiator Modes
TRUE - MODE
Example: C Major chord notes, octave range 1 (1 octave range for one cycle).
Example shown assume 1/16 Speed over a 16 step arpeggio. Note length covers entire 16 steps of sequencer pattern
- 1 page (i.e. full arp pattern). Effectively 1 arp step to 1 pattern sequence step.
C Major
Chord
C E G
1 2 3
LEN
Trig Page LEN (C) should be set to ensure the arpeggio sequence length can be played out
Arp programmed note with or without offset

Arp played chord note at the arp settings
TRUE.
The arpeggio plays in the same order as the notes were played. Example has C, E, G played into the trig.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G G G G G
E E E E E 1 Oct
C C C C C C
One Cycle
True will arpeggiate notes in the same order as they are

recorded in, across the octave. The pattern will repeat
and continue.

5 Patterns Advanced
NOTES
Arpeggiator Modes
UP - MODE
C Major
Chord
C E G
1 2 3
LEN

UP.
The arpeggio plays in the notes in an ascending order with the lowest note e.g. C, first and highest e.g. G played last.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G G G G G
E E E E E 1 Oct
C C C C C C
One Cycle
Up will arpeggiate notes lowest to highest across the

octave. Then restart lowest to highest and continue.

Patterns Advanced 5
NOTES
Arpeggiator Modes
DOWN - MODE
C Major
Chord
C E G
1 2 3
LEN

DOWN.
The arpeggio plays in the notes in an descending order with the highest note e.g. G, first and lowest e.g. C played last.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G G G G G G
E E E E E 1 Oct
C C C C C
One Cycle
Down will arpeggiate notes highest to lowest across the

octave. Then restart highest to lowest and continue.

5 Patterns Advanced
NOTES
Arpeggiator Modes
CYCL - MODE
C Major
Chord
C E G
1 2 3
LEN

CYCL.
The arpeggio plays in the notes in an ascending order then descending e.g. CEGEC.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G G G G
E E E E E E E E 1 Oct
C C C C
One Cycle
Cycl will arpeggiate notes lowest to highest then to

lowest across the octave and continue to cycle.

Patterns Advanced 5
NOTES
Arpeggiator Modes
Example: True mode. single note, octave range 3.

Single Note
LEN

Arp played note at the arp settings
True mode. Single note
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
3 Oct
2 Oct
1 Oct
One Cycle
True mode. Single note with programmed offsets. Note are played across the octave range.
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
-2 2 2 3 Oct
7 2 Oct
-2
7
5
2 2
1 Oct
-2 -2 -2
One Cycle

5 Patterns Advanced
5.10 Chains NOTES
A chain is a sequence of patterns linked to play together in a linear

sequence one after the other and configured in the order desired. Chains
cannot be saved or re-edited once created. Digitone chaining functionality
can be limited and somewhat quirky.
A03 B02 C04 A05 B10
1 Chain Maximum : Up to 64 Patterns from Banks A-H
Chains can be created with the sequencer stopped or running
When creating chains it is important to follow the technique described

precisely. This involves holding the prior key before pressing the next. This
means at least 1 key (either a TRIG key or PTN key) will be held throughout
the chaining process.
▌PLAYING A PATTERN CHAIN
1. Press [PLAY]. The chain will play and each pattern chained will be
played following completion of the previous pattern.
2. The chain will restart and loop once the sequence is completed.
▌CREATING A PATTERN CHAIN - EXAMPLE 1
Same pattern and allows only 1 copy of the first pattern
1. Press and hold [PTN], then press [1] … [16] for the FIRST pattern in the
chain.
2. Keep the trig in step 2 held and release the [PTN] key.
3. With the TRIG still held, select subsequent patterns to the first within the
chain by pressing [1] … [16]
• Select individual pattern trigs [1] … [16] whilst always holding the
prior TRIG to create a chain.
• To add a repeated pattern trigs [1] … [16] to repeat instances in

succession whilst holding the prior trig.
4. Continue to build the chain length and assemble the pattern sequence.
The chain is complete when the last pattern trig is released

Patterns Advanced 5
NOTES
Across multiple banks.
1. Select the first the pattern bank, hold [BANK] + [1] … [16] i.e. A … H
2. Press and hold [PTN] + [1] … [16] to select the first pattern in the chain
3. Keep the TRIG in step 2 held and release the [PTN] key.
4. Press the TRIG [1] … [16] required to add patterns multiple times and
keep hold of the trig when on the last selection.
5. With the TRIG still held, select subsequent patterns to the first within the
chain by pressing [1] … [16]
• Select individual pattern trigs [1] … [16] whilst always holding the
prior trig
• To add a repeated pattern trigs [1] … [16] to repeat instances in

succession whilst holding the prior trig.
• Press [BANK] then [A] … [H] to change bank and choose trig
patterns [1] … [16] from the new bank to add to the chain.
6. To complete chain release the TRIG.
Multiple copies of the first pattern
1. Press and hold [PTN] + Press and hold [1] – [16] that is NOT your first
pattern. Keep hold of the trig throughout.
2. Release [PTN], then press and hold [PTN] again.
3. Press your first pattern [1] – [16] key twice or any number of trigs for the
pattern repeats you need.
▌CLEARING A PATTERN CHAIN
1. Select a new [BANK] and or [PTN] or create a new chain. Previously

created chain will be lost

5 Patterns Advanced
5.11 Song Mode
Song mode allows the creating of arrangements and chaining of patterns into full productions. Song
mode is more advanced at creating a sequence of patterns than the chain function. Songs play by
the designated rows and their assigned patterns in order. The pattern can be repeated and it’s
length can be the same as the pattern default or an alternative step length set per row. Tempo can
also be assigned per row. The option to mute rows is also possible. The default mode is to
continuously loop the song from start to end then restart.
Song Mode Overview
C04
Pattern Patterns selected to play on each row.
B02
A03
Each pattern row is Attributes per row can be set for the behaviour of the
played in sequence pattern assigned to the row.
Song Row Label Pattern Repeat Length Tempo BPM Mutes

# LABEL PTN
01 INTRO C04 1 016 120.0

Play Direction per Row
02 INTRO B02 4 032 120.0
03 VERSE A03 4 016 118.0
04 VERSE A04 8 064 120.0
END: LOOP
Labels can be selected based on a Song will play through each row and row loop, then will by default
predefined set or can be the pattern name. loop back to the start and continue to play again. Alternative option
to STOP Playback at the end.
Song mode must be enabled to play the arrangement. Songs are built in the song mode editor. Songs are automatically
saved as they are created but the project must be saved to retain the song when switching between projects.

Patterns Advanced 5
NOTES
Song Mode Menu’s
Creating a song starts from within the Song Editor. This is accessible from
the [SONG] Mode button.
Press [SONG] to open the song mode pop-up menu. Button is

lit yellow when song mode is active.
Press [YES] in the song menu

to toggle song mode on or off
Use the arrow keys [UP], [DOWN], [LEFT] or

[RIGHT] to navigate within the song menu.
UP - Selects the Song Settings Menu
DOWN - Opens the song browser to load from one of the 16 song slots
RIGHT - Song editor (Song Mode must be ON)
LEFT - Loop current row (Song Mode must be ON)
The top header of Digitone’s pages will reflect the song status when song
mode is set to ON. The Middle section will display as a bar graph for row
duration when playing.
Current Song Row. Row Label. Current Pattern.

Currently playing row and Assigned song row label Currently active song row
total rows available assigned / playing pattern
Current Song.
Currently active / playing
song number.

5 Patterns Advanced
NOTES
Some Song functions are also available in the settings menu. This is
accessible in the Song Mode Pop-Up screen using [SONG] + [UP] or from
within the [SETTINGS] Menu.
The Song Settings option is also

accessible by,
Pressing [SONG] + Press [UP].
RENAME
Rename the current song beyond
the default S01, S02 etc
CLEAR
Clears the current song and reverts
to default blank setting.
LOAD
Function to load saved songs from
the 16 available slots per project.
SAVE TO PROJ
Saves the active song to the current
project. 16 Save slots available.

Patterns Advanced 5
NOTES
Creating a Song.
Songs can be created from scratch by editing a blank song or created from
an existing song chain which can be imported as a starting point. Songs
can be saved and loaded to / from the project.
▌CREATING A SONG FROM SCRATCH
1. Press [SONG] to select the song mode pop-up menu.
2. With the Song Mode pop-up menu open, Press [YES] to toggle song
mode on or off. Set to ON. The Song mode button will be lit yellow when
song mode is active.
3. In the Song mode pop-up menu, Press [RIGHT] for the ‘EDIT’ option to
edit the song. This option is not available if song mode is off. Also
Pressing [SONG] [SONG] opens the Song edit option.
4. Press [FUNC] + [DOWN] to add the first row to the song. If rows exist
this will add a new row and copy down the current row.
5. The first row # ‘01’ is added with the currently active pattern and its
defaults such as tempo and step length. If any mutes exist on the
pattern tracks then the mute symbol will also be shown on the row.
6. The ‘END’ condition is also automatically added with a default of

‘LOOP’. This will cycle from the start to end the song when playing. To
change to ‘STOP’, where the song will stop at the end, turn (LEVEL/
DATA) when the end state condition is highlighted.
7. Use the arrow keys [UP], [DOWN], [LEFT] or [RIGHT] to navigate

across row columns and between rows. An highlighted element will
show the currently selected parameter. The row being edited is shown
between the dotted horizontal lines.
8. To edit the row parameters:-
• Use the arrow keys to navigate and highlight the parameter to edit.
• Turn (LEVEL/DATA) or a (DATA ENTRY) Knob to adjust the selected

parameter options.
9. To add more rows, Press [FUNC] + [DOWN]. The current row will be
copied down to the new row.

5 Patterns Advanced
NOTES
▌CREATING A SONG FROM A CHAIN
2. Ensure the song is empty. A song can be cleared using the Song mode
setting menu or load an empty song from the song menu. In the Song
mode popup, Press [UP] to access the menu then CLEAR.
Pressing [SONG] [SONG] opens the Song edit option.
5. In the empty song, Press [YES] to create a song from a chain.
6. Press [UP] [DOWN] or Turn (LEVEL/DATA) to select either:-
• FROM CURRENT CHAIN. This will automatically create a pattern

from the currently existing chain.
• FROM NEW CHAIN. The option to select patterns using the trig
buttons as well as the ability to change banks. Press [YES] to
confirm the chain selection to be imported.
7. The chains are automatically translated into the song rows using the
pattern defaults.
8. The ‘END’ condition is also automatically added with a default of

‘LOOP’. This will cycle from the start to end the song when playing. To
change to ‘STOP’, where the song will stop at the end, turn (LEVEL/
DATA) when the state condition is highlighted.
9. Use the arrow keys [UP], [DOWN], [LEFT] or [RIGHT] to navigate

across row columns and between rows. A highlighted element will show
the currently selected parameter. The row being edited is shown
between the dotted horizontal lines.
10. To edit the row parameters:-
• Use the arrow keys to navigate and highlight the parameter to edit.
• Turn (LEVEL/DATA) or a (DATA ENTRY) Knob to adjust the selected

parameter options.

Patterns Advanced 5
NOTES
Song Editor
Song Number. Song Name.

Song slot number. Assigned song name. Can be
1-16 per project. changed in settings menu.
Song Pointer.
Current time and position
of playhead
Song Playhead. Row Selected.
Playing or pending play row Row selected for editing.
[UP] [DOWN] to select.
Song Row. Mutes.

Row number. 1-99. Allows muting of any of
the tracks in the pattern.
Row Label. Tempo.

Optional keyword or Dedicated tempo per row. Song
pattern name. tempo overrides row tempo
Pattern. Length.
Selected row pattern. Use Repeats. Length, in steps, of the
[FUNC] to quickly select bank. Number of times row selected pattern in the row.
will repeat playback.
Function Range Comments / Notes

# Row 01-99 Row number. Automatically assigned.
Keywords available from drop down menu. Optionally

LABEL Options
the pattern name or an empty slot can be used.
Selects the pattern to play in the row from the current

PTN
bank. Use [FUNC] + (LEVEL/DATA) to change bank.
Number of times the pattern will play on the
ROW REPEAT 1-32
designated row before moving to next row.
Number of sequencer steps that the pattern will play

ROW LENGTH 2-1024 on the designated row . Default is pattern length. The
1000 value will be labelled K, i.e. 1024 = K24
BPM of the specific pattern for the row. Press
[TEMPO] or [YES] to select the row tempo and swing
ROW TEMPO 30-300
or turn (LEVEL/DATA) Knob for tempo. Song tempo
or row can be selected.
Tracks can be muted. Press [YES] to edit and use
ROW MUTE
Track buttons to mute or unmute.
The behaviour at the end of the song can be set to
END default LOOP or STOP. Loop will restart and cycle
the song while Stop will stop playing at the end.

5 Patterns Advanced
NOTES
▌EDITING A SONG
Pressing [SONG] [SONG] Also opens the Song edit option. The last
played or edited song will be edited, but other songs can be loaded.
4. The basic controls for editing in the song mode editor:
• Navigate between rows and the end condition. Press [UP] or

[DOWN]. Selected row is shown between dotted lines.
• Navigate a parameter setting on a row. Press [RIGHT] or [LEFT].
• Insert Row. This will automatically copy from the currently selected
row to insert in the row below. Press [FUNC] + [DOWN].
• Delete Row. This will delete the currently selected row. Press
[FUNC] + [UP].
• Edit the selected, highlighted parameter. Turn (LEVEL/DATA) or

Turn a (DATA ENTRY) Knob to change the setting.
• The Copy, Paste and Clear functions can be used on rows.

Press [FUNC] + [REC] to Copy Row, [FUNC] + [STOP] to Paste
Row or [FUNC] + [PLAY] to reset row to current pattern defaults.
5. The parameters to edit in the song mode editor:
• LABEL: The label drop down menu will allow a pre-defined keyword
that represents a song arrangement, i.e. verse, intro etc. Also the
pattern name can be selected. Turn (LEVEL / DATA).
• PTN: Selects the pattern to play on the row. Turn (LEVEL / DATA).
Also to select the equivalent pattern number in another bank,
Hold [FUNC] + Turn (LEVEL/DATA).
• REPEAT: Sets how many times the pattern will play before moving
to the next row. Default is 1. Turn (LEVEL / DATA) to adjust.
• LENGTH: Sets how many steps from the selected pattern to play.
Default is the pattern step length. Turn (LEVEL / DATA) to adjust.

Patterns Advanced 5
NOTES
• TEMPO: Sets the tempo for the specific row. Turn (LEVEL/DATA).
Also allows song wide tempo to be set and to adjust swing per row.
• When selecting the TEMPO parameter, Press [YES] or [TEMPO]

to open the tempo editor.
• The current row BPM can be adjusted with (LEVEL/DATA) and

Swing by Data Entry (E). The ‘P’ tags are displayed when the
current pattern setting defaults are set.
• Press [FUNC] + [YES] to toggle between row and song tempo.

Swing is only per row. Song tempo takes precedence over any
tempo set individually per row.
• MUTE: Tracks can be muted and unmuted for a row within the song
mute editor. When the mute column slot for the row is selected,
Press [YES] to select the mute pop-up menu.
• To mute or unmute a track, Press [T1], [T2], [T3], [T4] when the
mute pop-up menu is displayed.
• Rows with any muted tracks will show the mute symbol in the
song row mute slot, otherwise will be empty.
• The pop-up mute menu will display the audio or MIDI sections.
Whichever mode is selected will be shown with a rectangle.
Muted tracks will show unlit on the pop-up and track button.
• END: The end function appears after the last row. This can be
selected and changed from the default LOOP setting to STOP. Loop
will restart automatically and cycle through the arrangement. STOP
will play once then stop. Turn (LEVEL/DATE) to adjust.

5 Patterns Advanced
NOTES
▌PLAYING A SONG
3. Press [PLAY]. The song will now play and the top bar on the pages will
represent the song status. A song can be played from any page when
song mode is on.
4. Press [STOP]. The song will pause and will restart from the paused
position when [PLAY] is pressed.
5. Press [STOP] [STOP] to restore the playhead to the first row and stop.
▌LOOPING A SONG ROW
3. To set row loop on, Press [LEFT] from the Song Mode menu. This will
set the loop playback to cycling on the row.
4. To turn row loop off, Press [LEFT] from the Song Mode menu when
looping is on. This will revert playback to continuous play through rows.
The display header will show progress bar and status when
song mode is active and a song is playing. With song mode
on, [PLAY] and [STOP] control the song playback.

Patterns Advanced 5
NOTES
▌SAVING A SONG TO A PROJECT
2. To save a song. Press [UP] from the Song Mode menu. This will open
the settings song menu. This is the same menu available in the SONG
menu under [SETTINGS].
3. Navigate with the arrow keys or Turn (LEVEL/DATA) to highlight and

select SAVE TO PROJ.
4. Press [YES] to open the 16 save slots.
5. Navigate with the arrow keys or Turn (LEVEL/DATA) to highlight and

select one of the 16 slots to save into.
6. Press [YES] to open the naming window. A name can be edited or a

new name added.
7. Press [YES] to save.
8. The song is saved followed by a confirmation message.
▌LOADING A SONG
2. To load a song. Press [DOWN] from the Song Mode menu. This will
open the 16 saved slots.
3. Navigate with the arrow keys to select a song to load.
4. Press [YES] to load the song. If a song is playing, the selected song will
be queued to play after the current song, otherwise the song is loaded
immediately ready to play.
5. Loading a song is also possible in the SONG menu, under [SETTINGS].

NOTES

6
Tracks
Getting to know patterns as explained in the FLTR, AMP, LFO therefore operate in the context
earlier sections is intentionally designed to get of each specific track. MIDI Tracks control
things started with creating music straight external equipment and notes and chords can be
away. The underlying elements in forming a programmed to operate external gear along with
pattern and developing a sequence are also various parameters such as velocity, pitch bend
important. Controlling tracks both synth and etc. MIDI tracks also operate with MIDI control
MIDI are also fundamental actions needed to change settings and with parameter lock
get a good understanding of Digitone and are functionality, LFO, micro timing etc. The basic
key features in developing a workflow for principle is that a track would contain the source
working with patterns. Digitone contains eight sound settings and configurations which is then
tracks, four of which are synth tracks and four programmed into a sequence using trig steps to
MIDI tracks all controlled independently by develop the melody, beat or tune.
using the four track buttons. A number of track
features such as mute conditions bring
additional creativity when playing live or simply
jamming. Digitone contains 8 configurable
voices applied across the synth tracks. Each
track contains a sound, although sound trigs
enable this to be changed per step. A sound is
built from its associated parameter settings.
All parameter pages TRIG, SYN1, SYN2,

6 Tracks
6.1 Basic Track Navigation & Control NOTES
Navigating the 8 tracks is simple and follows a similar process for both
synth and MIDI tracks.
▌SELECTING A TRACK
1. Ensure the [MIDI] mode is off i.e. button unlit for synth tracks. If working
on MIDI tracks press [MIDI] to illuminate the button.
2. Press track [T1], [T2], [T3] or [T4]. Only one track can be selected at
one time.
The display indicates the selected track and whether the track is a synth : SYN or a MIDI : MID track.
Default is synth track options (MIDI Button

off/unlit). Press [MIDI] button on/lit when
editing MIDI tracks.
Selected track button illuminates bright

T2 green. Maybe be unlit if track is muted.
Track buttons are ‘radio style’ meaning

when one is selected the other is
automatically deselected.
syn MID
Synth MIDI Example: Synth track 2 is the
Audio track selected MIDI track selected current selected track
TRACK
Indicates track number
1 - 4 selected.

Tracks 6
NOTES
▌CHANGING A TRACK PARAMETER
1. Press track [T1], [T2], [T3] or [T4]. Only one track can be selected at
one time.
2. Select the parameter page for the desired parameter set i.e. [TRIG].
3. Hold the parameter key to view the value of the parameter setting
currently in place.
4. Turn (A) … (H) Data entry control to change its parameter.

Using [FUNC] + certain parameters will ‘jump’ through options e.g LEN
▌QUICK ASSIGNMENT OF A SOUND TO A TRACK
1. Select the desired track [T1] … [T4].
2. Double press [T1] … [T4] or Press [FUNC] + Turn (LEVEL/DATA) to

open the sound browser.
3. Continue to turn (LEVEL/DATA) to navigate to the desired sound.
4. Press [YES] to select the highlighted sound. The sound will load directly
into the selected track.
5. Press track [T1], [T2], [T3] or [T4] to see the sound that is loaded.

6 Tracks
6.2 Synth Tracks - Parameter Menu Structure
The Digitone has 6 parameter setting pages per track, some with a second page by pressing the
parameter key again and each with secondary functionality accessible with [FUNC] + Option. Holding
the parameter key will display current settings. The synth track options are shown.
MAIN PAGE 1 MAIN PAGE 2 SECONDARY PAGE
A Trig root note value

B Velocity 0-127
C Trig length 0-127,Inf
D Trig prob / condition Not available Setup menu
E Filter trig On/Off
F LFO trig On/Off
G Portamento time
H Portamento On/Off
A Algorithm A Op C ratio offset -1 to 0.999 A Arpeggiator mode

B Ratio - Operator C B Op A ratio offset -1 to 0.999 B Arp speed
C Ratio - Operator A C Op B1 ratio offset -1 to 0.999 C Arp octave range
D Ratio - Operator B1 - B2 D Op B2 ratio offset -1 to 0.999 D Arp note length
E Harmonic wave E E Arp note offset
F Detune F F Arp length
G Feedback G G
H Carrier output mix H H
A Op A env attack 0-127 A Op A env delay 0-127 A Chorus depth 0-127

B Op A env decay 0-127 B Op A env trig behaviour B Chorus Speed 0-127
C Op A env end 0-127 C Op A env reset C Chorus hi pass filter 0-127
D Op A mod level 0-127 D Phase reset D Chorus stereo width 0-127
E Op B env attack 0-127 E Op A env delay 0-127 E
F Op B env decay 0-127 F Op A env trig behaviour F Delay send 0-127
G Op B env end 0-127 G Op A env reset G Reverb send 0-127
H Op B mod level 0-127 H H
A Filter env attack 0-127 A A Delay time

B Filter env decay 0-127 B B Ping Pong X setting on/off
C Filter env sustain 0-127 C C Delay stereo width -64 to 64
D Filter env release 0-126, Inf D D Delay feedback 0-198
E Multimode filter cutoff 0-127 E Filter base 0-127 E Delay hi pass filter 0-127
F Filter resonance 0-127 F Filter width 0-127 F Delay lo pass filter 0-127
G Filter type Off, 2P LP, 2P HP, 4P LP G G Reverb send 0-127
H Envelope depth -64 to 63 H H
A Amp env attack 0-127 A A Reverb pre-delay 0-127

B Amp env decay 0-127 B B Reverb decay time 1-127, inf
C Amp env sustain 0-127 C C Reverb shelving filter 0-127
D Amp env release 0-126, inf D D Reverb shelving gain 0-127
E Overdrive 0 -127 E Chorus send Off, 0.01-127 E Reverb hi pass filter 0-127
F F Delay send Off, 0.01-127 F Reverb lo pass filter 0-127
G Pan L64-R63 G Reverb send Off, 0.01-127 G
H Volume of sound 0-127 H Amp env behaviour H
A LFO1 Speed -64 to 63 A LFO2 Speed -64 to 63 A Overdrive / InL / InR

B LFO1 Multiplier B LFO2 Multiplier B
C LFO1 Fade in/out -64 to 63 C LFO2 Fade in/out -64 to 63 C Trk1 Level /L Pan / R Pan
D LFO1 Destination D LFO2 Destination D Trk2 Level
E LFO1 Wave shape E LFO2 Wave shape E - / L Chorus / R Chorus
F LFO1 Start phase 0-127 F LFO2 Start phase 0-127 F - / L Delay / R Delay
G LFO1 Mode of operation G LFO2 Mode of operation G Trk3 Level / L Rev / R Rev
H LFO1 Depth -64 to 63 H LFO2 Depth -64 to 63 H Trk4 Level

Tracks 6
6.3 MIDI Tracks - Parameter Menu Structure
The Digitone has 6 parameter setting pages per track, some with a second page by pressing the
parameter key again and each with secondary functionality accessible with [FUNC] + Option. Holding
the parameter key will display current settings. The MIDI track options are shown.
MAIN PAGE 1 MAIN PAGE 2 SECONDARY PAGE
A Trig root note value

B Velocity 0-127
C Trig length 0-127,Inf
D Trig prob / condition Not available Not Available
E
F LFO trig On/Off
G
H
A MIDI Channel off, 1-16

B MIDI Bank change, off,1-128
C MIDI Sub bank change, off, 1-128
D MIDI Program change, off, 1-128 Not Available Not Available
E Pitch Bend, off, -128 to 128
F Aftertouch, off, 0-127
G Mod wheel, off, 0-127
H Breath controller, off, 0-127
A MIDI Channel off, 1-16 A Chorus depth 0-127

Same parameters as SYN1
B MIDI Bank change, off,1-128 B Chorus Speed 0-127

C MIDI Sub bank change, off, 1-128 C Chorus hi pass filter 0-127
D MIDI Program change, off, 1-128 D Chorus stereo width 0-127
Not available
E Pitch Bend, off, -128 to 128 E
F Aftertouch, off, 0-127 F Delay send 0-127
G Mod wheel, off, 0-127 G Reverb send 0-127
H Breath controller, off, 0-127 H
A CC Value 1 0-127, Off A Delay time

B CC Value 2 0-127, Off B Ping Pong X setting on/off
C CC Value 3 0-127, Off C Delay stereo width -64 to 64
D CC Value 4 0-127, Off D Delay feedback 0-198
E CC Value 5 0-127, Off Not Available E Delay hi pass filter 0-127
F CC Value 6 0-127, Off F Delay lo pass filter 0-127
G CC Value 7 0-127, Off G Reverb send 0-127
H CC Value 8 0-127, Off H
A CC Command ctrl 1 0-119 A Reverb pre-delay 0-127

B CC Command ctrl 2 0-119 B Reverb decay time 1-127, inf
C CC Command ctrl 3 0-119 C Reverb shelving filter 0-127
D CC Command ctrl 4 0-119 Not available
D Reverb shelving gain 0-127
E CC Command ctrl 5 0-119 E Reverb hi pass filter 0-127
F CC Command ctrl 6 0-119 F Reverb lo pass filter 0-127
G CC Command ctrl 7 0-119 G
H CC Command ctrl 8 0-119 H
A LFO Speed -64 to 63 A Overdrive - Audio in level L / R

B LFO Multiplier B
C LFO Fade in/out -64 to 63 C Trk1 - Balance / Pan
D LFO Mod destination D Trk2
Not Available
E LFO Wave shape E Chorus send from input L/R
F LFO Start phase, 0-127 F Delay send from input L/R
G LFO Mode behaviour G Trk3 - Reverb send input L/R
H LFO Depth -64 to 63 H Trk4

6 Tracks
6.4 Chromatic Track Mode NOTES
Digitone trig keys by default are set to ‘chromatic mode’. The TRACK
NOTE option enables setting up of the keyboard (See pattern basics). KB
fold allows the keyboard to only represent valid notes in the scale.
Chromatic KB Scale Example
C# D# F# G# A#
C D E F G A B C
0 1 2 3 4 5 6 7 8 9
1 Octave
▌SELECTING TRACK NOTE MENU
1. Select the desired track [T1], [T2] [T3], or [T4].
2. Press [TRACK NOTE] to select the menu setting.
3. Options are presented. These can be set per track.
▌CHANGING OCTAVE OF TRIG KEYBOARD IN CHROMATIC MODE
1. With TRACK NOTE menu open, press [UP] to move up, [DOWN] to
move down in range for the track.
2. The range is 5 octaves down and 4 octaves up from the default middle
position.
3. Alternatively, press [UP] or [DOWN] to change octaves when not in the

TRACK NOTE menu.
4. Digitone Keys also has dedicated Octave Up / Down buttons for the
keyboard.

Tracks 6
NOTES 6.5 Track Direct Transpose
While Digitone ‘chromatic mode’ has the feature to transpose the keyboard,
the track itself can also be transposed.
▌TRANSPOSING A TRACK
1. Press and hold track [T1], [T2] [T3], or [T4] + [UP] for the desired track
to transpose up. Maximum +36 semitones.
2. Press and hold track [T1], [T2] [T3], or [T4] + [DOWN] for the desired
track to transpose down. Maximum -36 semitones.
3. Release the buttons to activate and hear the transposition of the track.
4. The transposition set for each track can also be applied within the
TRACK NOTE function page TRANSP.TRACK parameter.
Transpose the track +/- 36 Semitones.

Transposed tracks showed with ‘T’

6 Tracks
6.6 Mute Track Mode
Two mute modes exist when working with tracks. Mute modes bring creativity and help track
arrangements allows on the fly muting of tracks while the sequence is playing or stopped.
▌MUTING A TRACK
1. Press [PLAY] to play the sequencer pattern.
2. Press to select [MIDI] only if muting MIDI tracks otherwise press to ensure off / unlit.
3. Press [FUNC] + TRACK [T1], [T2], [T3] or [T4] to select the track to mute.
4. The muted track will be unlit while other active tracks will be lit (Colour based on mode).
5. Press [FUNC] + TRACK [T1], [T2], [T3] or [T4] unmute a muted track and continue playback.
6. Press [FUNC] + [BANK] to select a MUTE mode or turn mute mode off. The default is global.
MUTE MODES
Mute mode operates in one of two states, GLOBAL mode enables muting of the track in ALL
patterns while PATTERN mute mode mutes only the currently active pattern. Hold [FUNC] when
playing or stopped to show muted tracks, indicated by colour of the track buttons.
GLOBAL MUTE MODE PATTERN MUTE MODE
• Mutes the track in ALL Patterns. • Mutes the track in the currently ACTIVE
Pattern.
• Hold [FUNC] + [BANK] to toggle global
mute mode on or off (Normal mode) • Hold [FUNC] + [BANK] [BANK] - quick
double press to select pattern mute mode
• Track buttons lit RED when playing
• Track buttons lit MAGENTA when playing
• Saved with project
• Saved with pattern
• Press [FUNC] + [BANK] to exit pattern

mute mode
BOTH MUTE MODES
Tracks muted in both modes will show the track button lit BLUE
when playing or stopped and when mute mode is not active.
• The last mute mode used is recalled automatically on start up

Tracks 6
NOTES
▌MUTE TRACKS IN THE CURRENT PATTERN (PATTERN MUTE MODE)
2. Press [FUNC] + [BANK] and quickly [BANK] again to enter PATTERN

mute mode. Track buttons are lit magenta / purple.
3. Press TRACK [T1], [T2], [T3], [T4] to toggle the track(s) to mute or
unmute.
4. The track button for the muted track will be off / unlit. Unmuted tracks lit
magenta / purple. Button flickers as steps are triggered.
5. Tracks muted in both global AND pattern mode will show the track
button lit blue when view in normal mode.
6. Press [FUNC] + [BANK] to exit pattern mute mode.
▌MUTE TRACK IN ALL PATTERNS (GLOBAL MUTE MODE)
2. Press [FUNC] + [BANK] to enter GLOBAL mute mode. Track buttons

will be lit red.
3. Press TRACK [T1], [T2], [T3], [T4] to toggle the track(s) to mute or
unmute.
4. The track button for the muted track will be off / unlit. Unmuted tracks lit
red. Button flickers as steps are triggered.
5. Tracks muted in both global AND pattern mode will show the track
button lit blue in normal mode.
6. Press [FUNC] + [BANK] to exit global mute mode.
▌QUICKLY MUTING TRACKS
1. Global mute. During playback, press [FUNC] + [T1] … [T4] to mute /

unmute tracks.
2. Pattern mute. During playback, press [PTN] + [T1] … [T4] to mute /

unmute tracks.

6 Tracks
NOTES
Mute Mode Summary
In normal operation Mode the Track buttons will illuminate based on the state. Typically this is the Mute
Mode and state that that is reflected in the colour. In the normal state a track button will be green if selected
and white if unmuted but not selected and off if muted.
To Mute
[FUNC] + Track
Track button illuminates white to Track button illuminates red to

show the track is unmuted and T1 T2 show that the track muted is in
active. GLOBAL mode.
Track button illuminates magenta Track button illuminates blue

to show that the track muted is in T3 T4 showing the track muted is in
PATTERN mode. PATTERN and GLOBAL modes.
MUTE MODE
On / Off
[FUNC] + [BANK]
PATTERN GLOBAL
[FUNC] + [BANK] [BANK] [FUNC] + [BANK]
Mutes track only the current pattern Mutes the track in all patterns

Tracks 6
NOTES
Track Button Status Quick Ref
Colour Status Mode Mode Selection Comments / Notes
View from the normal operating mode for track selection
Unmuted. Track
Green Lit Track selection [T1] [T2] [T3] [T4]
currently selected track.
Unmuted tracks. Track

White Lit Track selection [T1] [T2] [T3] [T4]
not currently selected.
Muted tracks. Track not

Off Unlit Track Selection [T1] [T2] [T3] [T4]
currently selected.
Track muted in global

Red Lit Track Selection [T1] [T2] [T3] [T4]
mode
Track muted in pattern

Magenta Lit Track Selection [T1] [T2] [T3] [T4]
mode
Track is muted both in
Blue Lit Track Selection [T1] [T2] [T3] [T4] global and also in
pattern mode
FUNC indicates track
Red Lit Track Selection [FUNC]
mute state
FUNC indicates track

Red Lit Track Selection [FUNC]
mute state
Flashes during play to

White Flash Play Hold [FUNC]
indicate triggered steps.
View from within one of the two mute modes
Global mute mode

Red Lit Global Mute Mode [FUNC] + [BANK]
active - track unmuted
Global mute mode

Off Unit Global Mute Mode [FUNC] + [BANK]
active - track muted
Magenta Lit Pattern Mute Mode [FUNC] + [BANK] [BANK] Pattern mute mode
active - track unmuted
Off Unit Pattern Mute Mode [FUNC] + [BANK] [BANK] Pattern mute mode
active - track muted

6 Tracks
6.7 Track Levels NOTES
There are multiple places that can be accessed to set and check the track
levels. Master level is generally available but this controls the master
volume output.
TRACK LEVEL
Visible on each parameter page. The
(LEVEL/DATA) control is displayed
and controls the track level
▌ADJUSTING INDIVIDUAL TRACK LEVEL
1. Press TRACK [T1], [T2], [T3], [T4] to select the track to edit.
2. Adjust the (LEVEL/DATA) control to adjust the selected tracks level.
3. Level LEV status shows on the display bottom left. This is replicated
across all parameter pages on page 1 and 2.
There are other ‘levels’ that can be found in the Digitone across various
functions These serve the purpose of the context in which it is presented.
These include:-
• Master Volume. Used to adjust the main output audio of the Digitone
device.
• Master page volume. This replaces the track level on the master page
and uses the rotary (LEVEL/DATA) to control the pattern level. Same
functionality as master volume.
• Effect page volume. This replaces the track level on the chorus, delay,
and reverb pages and uses the rotary (LEVEL/DATA) to control the
effect mix level.
• Amp page volume. Adjusted with (H) parameter, this controls the sound
volume and is independent from the track level.

Tracks 6
NOTES 6.8 Voice Options
Digitone has 8 voice polyphony and provides flexibility in managing and
configuring voices to match the needs of the project and track configuration.
What is Polyphony?
A voice is the combined audio function that generates the audio together
with the envelopes, filters, effects etc and generates the audible output.
Think of this as a single channel of audio. Each key that is pressed on the
keyboard triggers a voice. So for example a bass line may only need a
single voice playing notes in sequence. This is called monophonic - using a
single voice. In contrast a chord played to create a pad sound may need
several notes to be played at the same time and hence will trigger a voice
per note. This may also apply where single notes overlap and are played
simultaneously. This is called polyphony, having multiple voices that can
play together, at the same time.
How are voices managed in Digitone?
Digitone has 8 voices that can be played together. Given that there are also
4 tracks to consider, having a pre-defined voice allocation per track may
limit flexibility. For example one track may only need 1 voice for bass and
another may need 3 for a pad with triad chords. Digitone provides the ability
for user allocation of voices and to also to set these voice behaviours. This
offers maximum flexibility of the available voice count and to place the
allocations where it’s needed and not waste voices where they are not
required.
How to start with voice allocation setup?
The VOICE MENU is where voices are set up and settings are stored in the
active pattern. Also consider the SOUND SETUP Menu as a related set of
parameters for sounds in the track. It is recommended to set up voice
allocation before designing sounds. This means having a clear view of what
the function of each track will be, i.e. bass, pad, lead, percussion. Of course
this can be changed at any time and later in the workflow process but it is
good practice to set things up at least as a starting point at the outset of
building a project.

6 Tracks
NOTES
▌SETTING UP VOICE STEALING BEHAVIOUR
1. Press [VOICE] button to open the VOICE MENU.
2. Press TRACK [T1], [T2], [T3], [T4] to select the track to work with.
3. Press [LEFT] or [RIGHT] to select the desired voice stealing option.

Voice stealing defines how voices are assigned once all of the 8 voices
have been used up.
• CYCLE. The first note that has been played will be stolen first and
used for the new note.
• TRACK. The track will define priority. Track 1 has the highest priority
and Track 4 lowest.
• LO. The lowest note playing will be stolen first for the new note.
• HI. The highest note playing will be stolen first for the new note.
4. The voice indicators are often useful in seeing what voices are used
and released.
5. Press [NO] to exit the menu.
Tracks.
Selected track is highlighted and Voices.
edits will apply to this track. A dot 8 Voices - will show the active
indicates a MONO track. voice when triggering notes or
using the keyboard.
Voice Stealing.
Selects the behaviour of how
voices are chosen when all 8
Reuse.
Sets whether the same note
voices are in use at the same time.
repeated triggers same
voice or chooses new.
Locked Voices Unison Spread.

Fixes voices allocation to the track. This will Adds pan and detune to
gives the max voices for the track and ensure the voices used in unison.
the voices cant be stolen elsewhere. First digit
is available voices or ‘D’ Dynamic, second digit Unison. Layer.
is voices locked to track Enables voices to be set Enables multiple tracks to be triggered
for a single note. Also use from the same note or sequence trig.
[FUNC] + [VOICE].

Tracks 6
NOTES
▌LOCKING VOICES TO A TRACK
3. Turn (E) to select the desired option:-
• D - First digit. Dynamic mode. This automatically allocates any

available voice.
• 1-8 - First digit. Number of voices locked to the track
• 0-8 - Second digit - Number of unlocked voices available
4. Press [FUNC] + [TRIG] to open the SOUND SETUP options.
5. Scroll using (LEVEL/DATA), [UP] or [DOWN] to highlight PLAY MODE.
6. Ensure a polyphonic mode is selected to allow multiple voices to be

locked to the track. Mono tracks will be shown tagged with a dot in the
voice menu page.
7. Voices locked are fixed to the track and are the maximum available
voices on the track. In addition other tracks cannot lock the same
voices.
▌SETTING TRACK TO REUSE SAME VOICE
3. Turn (D) to select the desired option:-
• ON - The same voice is used when playing same note multiple

times i.e. percussion or staccato sounds
• OFF - Cycles through other voices.

6 Tracks
NOTES
▌SETTING OF UNISON MODE FOR THE TRACK
3. Turn (F) to set unison mode to Off or On between 2-8 voices. Mode on
allows several voices to be played together from a single note trigger.
Greyed out if not available (i.e. no voices available)
4. Turn (G) to adjust the panning and detuning of the unison voices (if
required) for the track. Range is 0-127 with 32 as default.
▌QUICK SETTING OF UNISON MODE FOR THE TRACK
2. Press [FUNC] + [VOICE] to toggle unison mode Off or On - 4 Voices.

The voice button will blink if no voices are available.
▌LINKING TRACK LAYERS TO PLAY FROM THE SAME TRIGS
2. Press TRACK [T1], [T2], [T3], [T4] to select the track to edit. This
becomes the source reference track i.e. the one which will trigger
another track from its keyboard or sequencer.
3. Turn (H) to set the layer to a destination track i.e. the one which will also
be triggered from the current active track.
LAYER Layer
Viewed from currently active track (shown half greyed), the greyed
T1 T2 out tracks show the ones layered to the currently active track.
Layered means that all tracks greyed will play when a note is played
by the keyboard or sequencer on the active track of the layer setting.
T3 T4 Multiple sounds can be played from one track using this method.

Tracks 6
6.9 Control All
Control all is a creative function that allows a parameter on ALL tracks to be
affected when changing a parameter value. For example changing filter
cutoff on all tracks at the same time.
▌CONTROL ALL - AUDIO TRACK PARAMETER CHANGES
To change a parameter across ALL tracks at the same time for mass editing
and creative effect changes, especially good for live performance:-
1. Press and hold [MIDI] + Turn (A) … (H) data entry controls to change
one or more parameters on the SYN1, SYN2, FLTR, AMP and LFO
pages on every track.
2. Pressing [FUNC] + [NO] to restore a pattern previously saved with

[FUNC] + [YES].
Example
Hold + Turn Filter Cutoff TRACK 1
Filter Cutoff TRACK 2

NOTES

7
Sound Management
Digitone has a number of sound management that the Digitone +Drive holds 2048 sounds at
utilities that assist in getting sounds into tracks, the highest system level in the device hierarchy
saving your own sounds and generally and can be used to load sounds to tracks. A more
managing the storage and location of sounds. convenient location is the sound pool, a smaller
While the same task may be possible through collection of 128 sounds hosted at project level
various functions, some utilities are better and which can be built as a collection of sounds
suited to a task than others, for example the for the specific project. The sound pool also
sound browser is the perfect tool for loading allows sound locks, which means applying an
sounds into tracks efficiently and quickly. The individual sound per trig in tracks. Sound
provided factory library of sounds is huge and management may seem a boring and mundane
will be even bigger when adding user designed part of using Digitone but it is worth investing
sounds. The ability to filter sounds by type is time, especially at the early learning stages to
therefore also useful especially as Digitone is a help develop an effective workflow and embed
good all round synth for drums, percussion, the tool usage into the normal processes of using
leads, bass and ambient drones and Digitone.
soundscapes. It is worth reminding at this stage

7 Sound Management
7.1 Sound Managing Tools NOTES
Sounds can also be managed within projects in the sound pool and in the
+Drive using the SOUND BROWSER and the more comprehensive
SOUND MANAGER functions.
2048 Sounds stored internally

+Drive on the +Drive
128 Projects stored on the

3 +Drive, within 8 Banks each
1 128
Sound Manager containing 256 Sounds.
Comprehensive sound
Project
management. A B C D
E F G H
128 Sounds available in the

Sound Digitone RAM Sound Pool for
Pool each individual project
1 2
Sound Browser Pattern Import / Export
Quick auditioning and Alternate method to import, export
loading of sounds to to / from tracks and +Drive.
tracks
Each track contains one

defined sound
Sounds are used in patterns

to generate melody or a
sequence
Sound locks (individual

sounds) can be added from
the sound pool to track trigs
1 Sound Browser. Used to quickly load sounds to tracks from the + Drive or Sound Pool.
Accessed by double tapping a track button or [FUNC] + Press (LEVEL/DATA)
2 Pattern Import / Export. Alternative option for managing sound import and export to /
from track patterns and the +Drive. Accessed via the song mode button using [FUNC]
+ [SONG]. Sound Manager is also available from this menu.
3 Sound Manager. Comprehensive function for managing +Drive and Sound Pool
sounds. Allows tagging, renaming and organising of all sounds within Digitone.
Accessed via the global settings SOUND option found under [SETTINGS]. Sound
Browser is also available from the sound settings menu.

Sound Management 7
NOTES 7.2 Loading Sounds To Tracks Using The Sound Browser
Loading a sound to a track can be from the +Drive or from the 128 sound
pool located in the project memory.
▌LOADING A TRACK SOUND USING THE SOUND BROWSER
1. Press TRACK [T1], [T2], [T3], [T4] to select the track to load a sound.
2. Press [FUNC] + Press (LEVEL/DATA) to open the sound browser. Also

double tap a track button opens the browser.
3. Turn (LEVEL/DATA) or press [UP], [DOWN] to navigate the sound

browser list and highlight each sound.
4. To switch between the +Drive and Sound Pool locations:
• Press [LEFT] to open the sound browser menu
• Select ‘VIEW POOL’ or ‘VIEW +DRIVE’ depending on current

location.
• The sounds can also be filtered, sorted or searched in the browser

using the ‘left’ sorting menu option.
• Press [YES] to switch to the new location. [NO] to cancel. Sound

Pool may initially be empty and would need sounds to be copied
from the +Drive to the sound pool.
5. Press TRIG Keyboard to chromatically preview play the highlighted

sound. Press [TRACK NOTE] + [UP] or [DOWN] to transpose octave.
6. Press [YES] when highlighting the chosen sound to load to the track.

7 Sound Management
NOTES
▌QUICK LOADING A TRACK SOUND USING THE SOUND BROWSER
1. Double press TRACK [T1], [T2], [T3], [T4] quickly to select the track to
load a sound and open the sound browser page.
2. Turn (LEVEL/DATA) or press [UP], [DOWN] to navigate the sound

browser list and highlight each sound.
3. Press TRIG Keyboard to chromatically preview play the highlighted

sound. Press [TRACK NOTE] + [UP] or [DOWN] to transpose octave.
4. Press [YES] when highlighting the chosen sound to load to the track.
Patterns in the tracks host the sound
Sounds can be loaded (as an

independent copy of the sound) to
tracks from the +Drive or from the
Sound Pool and can be saved back.
+DRIVE SOUND POOL

LOCATION LOCATION
Collection of samples held at the Collection of samples held at the

highest level in the Digitone hierarchy project level in the Digitone and
and provides sounds across all provides sounds to the selected
projects project
Sounds can be transferred between +Drive and Sound

Pool. Sound pool is the only location that can be used to
set sound lock to track trig steps.

Sound Management 7
SOUND BROWSER
Double tap the track button OR

+ Press
to open the sound browser
Sorting Menu
SORT ABC Sound Browser

Sorts sounds in alphabetical order.
This utility is used mainly for loading and previewing sounds both in the
SORT 123 sound pool and on the +Drive.
Sorts sounds in numerical order.
Select the sound browser using [FUNC] + press (LEVEL/DATA) or double
tap a track button.
SEARCH
Opens naming screen to select search words.
Scroll list of sounds using (LEVEL/DATA) or [UP] [DOWN].
FILTER
Pressing [YES] on a specific sound to load it to the active track.
Filters sounds by tags. Tag / Untag using [YES]
to select tags to filter by.
Press any TRIG [1] … [16] keyboard while in the sound browser to preview
the highlighted sound.
VIEW +DRIVE
Switches to +Drive view if in sound pool view.
VIEW POOL
Switches to project sound pool if in +Drive view.

7 Sound Management
7.3 Importing / Exporting Sounds To Tracks. NOTES
Sounds can be imported to tracks from the Pattern Import / Export function.
This operates between the +Drive and the four tracks.
▌ADDING A SOUND DIRECTLY FROM +DRIVE TO A TRACK
1. Select [FUNC] + [SONG] to open the IMPORT / EXPORT Menu. This

import / export menu is also an option available from within the
PATTERN menu.
2. Highlight the IMPORT option using [UP] [DOWN] or (LEVEL/DATA).
4. Navigate using [UP] [DOWN] or (LEVEL/DATA) to highlight a desired

sound.
5. Press [YES] to select the highlighted sound from the +Drive. To change
banks press key [BANK] + [9] … [16] i.e. banks A … H.
6. Select destination track by pressing track [T1], [T2], [T3] or [T4] and the
sound is loaded directly to the chosen track (not into the sound pool).

Sound Management 7
NOTES
▌SAVING A SOUND FROM A TRACK TO THE +DRIVE
1. Select source (where the sound to save resides) track by pressing track
[T1], [T2], [T3] or [T4].
2. Select [FUNC] + [SONG] to open the IMPORT / EXPORT Menu. This

import / export menu is also an option available from within the
PATTERN menu.
3. Highlight the EXPORT option using [UP] [DOWN] or (LEVEL/DATA).
5. The first free +Drive sound slot is automatically selected unless an

existing bank is selected. If another slot is required, navigate using [UP]
[DOWN] or (LEVEL/DATA) to highlight a new sound slot. To change
banks press [BANK] + [9] … [16] i.e. banks A … H.
6. The naming screen opens and the name can be created or edited.
Press [YES] when completed.
7. Select the filter tags to help identify the sound in future searches and
then highlight <SAVE> in the tag list.
8. Press [YES] to confirm and save.
9. Pressing [NO] can abort exporting the sound.

7 Sound Management
7.4 Sound Options And Sound Manager NOTES
More comprehensive management of sounds is available within the

GLOBAL SETTINGS menu in the SOUNDS section. Note that menus may
retain the previous state from the last access. Illustrations below indicate
the default status. Use [NO] to back up from sub-menus.
The Sound Browser is also accessible

SOUND BROWSER by [FUNC] + Press (LEVEL/DATA) or
Opens the sound browser double tapping a track button.
The Sound Manager is also

SOUND MANAGER accessible through the PATTERN
Opens the sound manager Import / export menu.
CLEAR TRACK SOUND

Clears the current track sound and
reverts to defaults.
RENAME TRK SOUND

Rename the current tracks sound.
SETUP
Sound setup for scaling,
keytracking, portamento, velocity,
play mode etc

Sound Management 7
SOUND MANAGER
SOUNDS > SOUND MANAGER menu IMPORT/EXPORT > MANAGE SOUNDS

OR +
under the GLOBAL SETTINGS. under the PATTERN menu
+DRIVE VIEW
Browse bar and location

indicator in sound list
Sound selection highlight.
Navigate left sorting menu Navigate right operations menu
Sound ‘checked’ using Tags assigned for

[YES] for selection. filtering sound type.
Bank: Number of
Sound name.
sound slot.
Protection lock to
prevent overwriting.
SOUND POOL VIEW
Tags assigned for

filtering sound type.
Sound selection highlight.
Navigate left sorting menu Navigate right operations menu
Sound ‘checked’ using

[YES] for selection. Browse bar and location
indicator in sound list
Number of sound Sound name or

slot. empty slot.
The left sorting menu presents the option to switch between the +Drive and the Sound Pool

7 Sound Management
SOUND MANAGER
SOUNDS
Sorting Menu Operations Menu
TAGS
TOGGLE
SEND SYSEX
SORT ABC LOAD TO TRACK

Sorts sounds in alphabetical order. Available when single sound is selected. Loads directly to the track and pattern.
SORT 123 COPY TO ...

Sorts sounds in numerical order. Copies selected sounds to either sound pool, first free slots of +Drive library or first
free slots of bank A-H +Drive.
SEARCH
Opens naming screen to select search words. SAVE TO HERE
Exports and saves the currently selected track sound to the selected slot.
FILTER
Filters sounds by tags. Tag browser opens to RENAME
select tags to filter by pressing [YES]. Available when single sound is selected. Opens the naming screen to rename the
active sound.
VIEW +DRIVE
Switches to +Drive view if in sound pool view. EDIT TAGS
Opens the tag editor where tags identifying the active sound can be added or
VIEW POOL deleted. [YES], <SAVE> when complete.
Switches to project sound pool if in +Drive view.
DELETE
Deletes active or selected sound(s).
SELECT ALL
Selects all available sounds in the list.
SELECT UNUSED
Selects all sounds that are unused in the project from the sound pool. Allows
purging of unused sounds. Sound pool function only.
DESELECT ALL
Deselects all selected sounds from the list.
TOGGLE
Selects or deselects the write protect flag and prevents the sound being edited.
SEND SYSEX
Sends the selected sounds using Sysex.
Menu options visible and available will vary depending

on the context of the menu selected.

Sound Management 7
NOTES
▌ADDING SOUNDS TO THE SOUND POOL
1. Select [FUNC] + [SONG] to open the IMPORT / EXPORT Menu. The

import / export menu is also available within the PATTERN menu.
2. Highlight the MANAGE SOUNDS option and press [YES] to select.
3. The SOUND MANAGER opens, the list of +Drive sounds is displayed

and a bank key A … H will be lit red to show the bank selected.
4. Use [BANK] + [9] … [16] i.e. A … H to select a new bank if required.
5. Select the sounds to add to the project SOUND POOL by pressing

[YES] to check the selection. Navigate using [UP] [DOWN] or (LEVEL/
DATA) to highlight and then select more sounds if needed.
6. Press [RIGHT] to open the sound manager’s right operations menu.
7. Highlight the COPY TO option by navigating with [UP] [DOWN],

(LEVEL/DATA) and press [YES].
8. Highlight and select SOUND POOL.
9. Press [YES] and the selected sounds will be copied to the current
project sound pool.

7 Sound Management
NOTES
▌REMOVE ALL UNUSED SOUNDS FROM A PROJECT SOUND POOL
1. Press [SETTINGS] for GLOBAL SETTINGS.
2. Highlight SOUNDS using [UP] [DOWN] or (LEVEL/DATA) to navigate.
3. Press [YES] to select the highlighted menu option.
4. Highlight SOUND MANAGER using [UP] [DOWN] or (LEVEL/DATA) to

navigate.
5. Press [YES] to select the sound manager menu option.
6. Press [LEFT] for the sorting options. Set the current location to sound
pool. When the location is already the sound pool the left sorting menu
will show VIEW +DRIVE.
7. Press [RIGHT] for the operations menu.
8. Highlight SELECT UNUSED using [UP] [DOWN] or (LEVEL/DATA) to

navigate.
9. Press [YES] to select. The number of sounds selected will be shown in

the selection message. These are sounds not used in project patterns.
10. Select DELETE from the operations menu.
11. Press [YES] to confirm deletion of the selected sounds.
12. Sounds are deleted from the sound pool (not the +Drive)

Sound Management 7
NOTES
▌CLEARING A TRACK SOUND - RESET TO DEFAULT
1. Press [T1], [T2], [T3], or [T4] to select a track to clear.
5. Highlight CLEAR TRACK SOUND using [UP] [DOWN] or (LEVEL/

DATA) to navigate.
6. Press [YES] to select clear track sound menu option.
7. Press [YES] again to confirm or [NO] to cancel.
8. Sound is cleared from the individual current track and restore to default
settings.
9. Press [NO] to back up and exit from menu.
▌RENAMING A TRACK SOUND
1. Press [T1], [T2], [T3], or [T4] to select a track to clear.
5. Highlight RENAME TRK SOUND using [UP] [DOWN] or (LEVEL/DATA)

to navigate.
6. Press [YES] to select the menu option.
7. Use the pop up menu to rename the track from its original default name.
8. Press [YES] to save or [NO] to cancel.
9. Sound is renamed. Defaults are usually Sound 1, Sound 2 etc.
10. Press [NO] to back up and exit from menu

7 Sound Management
7.5 Sound Setup NOTES
The SOUND SETUP MENU offers a consolidated location for generic

sound orientated functions. To access these options use [FUNC] + [TRIG]
or in the GLOBAL SETTINGS > SOUNDS > SETUP.
Key scaling refers to the amount of modulation output

from the relevant stated operator based on the
KEY SCALING A keyboard note played. 0 sets the modulation for all
Operator A modulation level keys to the same level. Range is 0-127. High values
give less modulation on higher notes. Lower number
decreases the tone complexity in higher frequencies
KEY SCALING B1 0 = Modulation same for each key

Operator B1 modulation level 64 = Modulation gets lower on higher notes
127 = Modulation low on high notes
KEY SCALING B2
Operator B2 modulation level
FILTER KEYTRACK
Multimode filter cutoff follows the
pitch of the sound. 100 is in note
intervals. Range is 0-100.
Access to the portamento option menu. Settings such

PORTAMENTO as type, slope, amount, style and gating are available.
Settings of portamento (glide) Track section covers portamento in detail.
function.
POLY - Sound is Polyphonic

POLY M.LFO - Polyphonic with mono LFO.
PLAY MODE MONO - Sound is Monophonic
Monophonic or polyphonic settings. MONO LEG - Sound is Monophonic and envelope is
not re-triggered on new notes.
When PLAY MODE is set to a mono this sets the

MONO NOTE PRIO priority of how notes are played.
Note priority for mono settings when LAST - Priority to last note played
playing notes at the same time. LOW - Priority to lowest note played
HIGH - Priority to highest note played.
VELOCITY TO VOL
When using an external MIDI
controller, sets how velocity affects LOG LIN EXP
volume. Off does not affect volume. Logarithmic curve. Linear curve. Exponential Curve

Sound Management 7
NOTES
Sound Setup (Continued).
PITCH BEND DEPTH

How much an external MIDI
controller affects Digitone.
OCTAVE
Base octave of sound
PITCH BEND
Pitch bend settings and options
VELOCITY MOD
Assignment of velocity to modulate
up to four parameters.
MOD WHEEL
Assignment of mod wheel (CC #1)
to modulate up to four parameters.
BREATH CONTROLLER
Assignment of breath control (CC
#2) to modulate up to four
parameters.
AFTERTOUCH
Assignment of aftertouch to
modulate up to four parameters.
The Digitone Keys version has integrated keyboard, pitch wheel and modwheel.

NOTES

8
Synth Sound Design
FM synthesis and designing and managing (modulator). Operators are combined into
sounds are core elements of music production algorithms and the ratios applied between each
with Digitone. The FM principles have been element affects the timbre, tone and sound.
covered so here we can concentrate purely on Digitone allows the voice management across
Digitone as a sound synth. The good news is the tracks and functions to maximise the use of
that while FM synthesis is based on the its 8 voice polyphony. The voice allocation can be
mathematical interaction of waveforms designed into the patch and preset created. A
Elektron have taken a simplified approach, sound is built from the components of the
applying techniques that would be seen in synthesis engines, parameters applied for
many common and simpler subtractive envelopes, filters and effects to carve and
devices. The algorithms available are preset, develop the sound further. This section
filters are included and the overall workflow is concentrates on the synth engine in particular
designed to make FM sound design a much SYN Pages and will walk through the steps for
easier process with Digitone. So don't worry sound creation and the details behind the
about the theory of FM but learn the base parameters, how they are applied and the
principles and apply them to make great outcomes generated. However the real fun
sounds. The most important things to comes with finding your own workflow, so make
remember going into sound design is the FM your own notes and develop your learning and
terminology. An operator is the basic building advancement into Digitone sound design. The
block used for both sound generation (carrier) options are endless, as is the fun.
and to manipulate another function

8 Synth Sound Design
8.1 What is a sound?
In Digitone a sound is designed and created to provide an audible output from the synth.
Parameters and functions are applied to create the sound and then shape it with envelopes and
filters before finally adding effects. This combination creates the unique sound which can then be
stored and saved in the Digitone and recalled to one or more of the available four tracks.
Track Sound
VOICE Synth Engine

ALLOCATION
ADSR ADSR LFO LFO

Audio A
Engine
B Filter Envelope Amp Envelope
SYN1 & SYN2 Modulation Modulation
FLTR AMP LFO LFO
X Y

AMP FLTR FLTR AMP
AMP
Chorus Chorus
Delay
Chorus AMP
Effects Delay Delay

Delay Sends
Delay AMP
Reverb Reverb
Reverb AMP
Master
Overdrive
SOUNDS
• +Drive: 2048 Sounds (256 per Bank A-H)
• Project RAM: Contains 128 sound slots within the SOUND POOL
• Sounds are created using synth engine and the settings of associated parameters.
• Sounds can be managed with the SOUND BROWSER & SOUND MANAGER

NOTES 8.2 Creating and Editing Sounds
The starting point in sound design and the purpose of this section starts with
the synthesis engine. In the case of Digitone this is an FM synth engine.
Typical workflow when creating and editing sounds is as follows:-
Sound Creation Workflow (Example)
Alternative Workflow Typical Workflow
1 Select a track to work on [T1], [T2], [T3], [T4]
Load a sound as a starting point

from the +Drive 2
3 Default track setting

GLOBAL SETTING > SOUNDS > CLEAR TRACK SOUNDS
Setup the synthesis engine core sound

4 SYN1 Page 1 & 2. Config and tuning.
Tweak and fine tune
Setup the synthesis engine core sound

5 SYN2 Page 1 & 2. Envelope shaping.
Shape the sound with filters and envelopes

6 FLTR & AMP Page
Modulate the sound with LFO’s

7 LFO Page
Add effects
8 Chorus, Delay, Reverb Page
9 Overdrive settings
10 Iterate adjustments to get the sound desired
Save Sound 11
+ Continue to other Tracks / Sounds

8 Sounds & Samples
8.3 SYN Page Summary
Four pages are important to focus when starting to design a sound. SYN1 and SYN2 hold the core
synth parameters and the FM engine configuration. Each of the SYN1 and SYN2 buttons has two
pages. Syn1 Page 1 concentrates on the main FM engine configuration.
SYN1 Page 1
A ALGO B C RATIO C A RATIO D B RATIO
FM Algorithm options from the 8 The FM operator C frequency The FM operator A frequency The FM operator B1 frequency
operator configurations. ratio which is applied in the ratio which is applied in the ratio, expanding to B2
algorithm. algorithm. frequency which is applied in
the algorithm.
8 Options 0.25 - 16 0.25 - 16 B1 0.25 - 16 + B2 0.25 - 16
E HARM F DTUN G FDBK H MIX
Harmonics adjustment of the Detuning of operators A and B2. Feedback. Self modulation Mix of the two, X-Y carrier
operators. Negative changes applied to the selected outputs. These are the audio
affect C. Positive changes affect feedback operator, as displayed outputs (carrier) from the
A, B1 displayed as variations of a in the algorithm. algorithm.
sine wave.
-26 to +26 Fine 0-64, heavy 65-127 0-120 -63 to +64
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [SYN1]
key. Press [SYN1] + [NO] to reset parameter page to last saved state. Press [SYN1] + [YES] to randomise the parameters. [SYN1] + [REC] to
copy, [SYN1] + [STOP] to Paste and [SYN1] + [PLAY] to clear page.

Sounds & Samples 6
SYN1 Page 2 concentrates on the ratio offsets for the FM engine core frequency ratios.
SYN1 Page 2
A C RATIO OFFSET B A RATIO OFFSET C B1 RATIO OFFSET D B2 RATIO OFFSET
Adds an offset to the ratio for Adds an offset to the ratio for Adds an offset to the ratio for Adds an offset to the ratio for
operator C. operator A. operator B1. operator B2.
-1.0 to +0.999 -1.0 to +0.999 -1.0 to +0.999 -1.0 to +0.999
E F G H

8 Sounds & Samples
SYN2 Page 1 concentrates on the FM engine envelopes.
SYN2 Page 1
A ATTACK TIME B DECAY TIME C END TIME D LEVEL A
Envelope attack time setting Envelope decay time setting Envelope end level setting Modulation amount of the
applied to operator A. applied to operator A. applied to operator A. envelope for operator A.
0-127 0-127 0-127 0-127
E ATTACK TIME F DECAY TIME G END TIME H LEVEL B
Envelope attack time setting Envelope decay time setting Envelope end level setting Modulation amount of the
applied to operator B2 & B2. applied to operator B1 & B2. applied to operator B1 & B2. envelope for operator B1 & B2.
0-127 0-127 0-127 0-127

Sounds & Samples 6
SYN2 Page 2 concentrates on additional envelope and trigger options for the FM engine.
SYN2 Page 2
A ADEL B ATRG C ARST D PHRT
Envelope delay, sets start prior Trig behaviour of the operator A Reset behaviour of A envelope Reset behaviour of operator
to attack phase of operator A envelope. Triggered or gated. when triggered. phase
envelope.
0-127 On, Off On, Off Off, All, C
E BDEL F BTRG G BRST H

Envelope delay, sets start prior Trig behaviour of the operator Reset behaviour of B1 & B2
to attack phase of operator B1 B1 and B2 envelope. Triggered envelope when triggered.
and B2 envelope. or gated.
0-127 On, Off On, Off

8.4 FM Algorithm Overview
FM functions using algorithms which are configurations of a number of operators to generate sound
and to modulate other operators. Digitone has simplified this FM concept with a fixed set of
algorithms made up of four operators. This approach maintains the power and spirit of FM
synthesis.
Digitone FM Algorithm Architecture. Example, Algo 1.

Digitone display will show animated activity on each operator.
Operator B1
B (Modulator)
Modulator affects
another operator
Feedback from / to
Operator A
Operator B1 & B2
Feedback option
operated together by
assigned in the algorithm
the same parameters
Operator B2
Operator A
(Modulator) A B (Modulator &
Carrier)
Ratios are multipliers that determine the

Carrier generates and Operator C contribution of each operator to each other and
delivers audio output. (Carrier) C the overall algorithms output
Mix output enables Output generated from the operator

fading between the two
output carrier channels
X Y with no envelope (dotted) or via the
envelope (solid line)
Carrier Carrier
Audio Out Audio Out
The algorithm will determine the exact functions and configuration used for each individual operator and also the collection of operators together.
Operator Group A Operator Group B Operator Group C
RATIO DETUNE RATIO RATIO

A B2 B1 C
OFFSET OFFSET
OFFSET OFFSET
- +
HARMONICS
ENVELOPE SHARED ENVELOPE
FEEDBACK
FEEDBACK
FEEDBACK
LEVEL SHARED LEVEL
Operator A and B acts as a modulator (usually with envelopes) and as a carrier, Operator C acts as a carrier
generally without using the envelopes (other than Algo 7 & 8). Options for feedback. delivering audio output to X.

NOTES
About the Digitone Operators.
Operators are both carriers (generate audio) and modulators (apply

changes i.e. modulate another function). Modulators affect the pitch
frequency in FM synthesis. Digitone has three operator groups A,B,C where
B consists of two functions, B1 and B2. Operators are the building blocks of
FM synthesis and are effectively self contained oscillators, envelopes levels
etc.
Operator C
Operator C in Digitone is used in the eight algorithms as a carrier delivering

audio to the output X. Due to this defined functionality the expanded
functions such as envelope and level are not provided in its base function.
As is common in FM synthesis the core oscillator is a sine wave. Harmonics
are applied which effectively change the waveform shape and therefore
change its timbre and sound. This is a common process in additive
synthesis and is applied in digitone to create harmonic rich variation.
Harmonics are applied to Operator C using the negative range of the
HARM parameter setting. Dedicated frequency ratio and offset can also be
applied.
Operator A
Operator A is a more expanded but self contained operator complete with a

dedicated envelope and level control as it is primarily (but not always) used
as a modulator. The envelope is typically used to create a more musical
and tasteful output when modulating other operators and reduce the harsh
side effects of modulating operators. Harmonics are also applied to change
the core sine wave using the positive parameter range of HARM setting.
Based on how the operator is applied in an algorithm, feedback control can
also be applied to operator A. The DTUN Detuning parameter is also
applied to operator A’s ratio to create subtle variation. Dedicated ratio and
offset can also be applied.
Operator B1 & B2
Operator B1 and B2 are grouped together and use the same parameter
macro controls and includes a common envelope and level control.
Harmonics are also applied to change the core sine wave using the same
positive parameter range of HARM setting as Operator A. Based on how
the operator is applied in an algorithm, feedback control can also be applied
to either B1 or B2. The DTUN Detuning parameter is also applied to
operator B2’s ratio to create subtle variation. A combined ratio control and
dedicated offset can also be applied.

NOTES
Digitone FM Algorithms
ALGO 1
1 Operator B2
B2 (Modulator)
Operator A
Operator B1
(Modulator)
+ Feedback
A B1 (Modulator & Carrier)
Operator C
(Carrier) C
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 1 has C and B1 as carriers (no envelopes applied to output). B1 also acts as a
modulator for C as does A which also contains a feedback function. Operator B2 modulates
operator B1. Default patch settings sound is flute like.
ALGO 2
Operator B2
Operator A
(Modulator) A B2 (Modulator)
+ Feedback
Operator C Operator B1
(Carrier) C B1 (Carrier)
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 2 has C and B1 as carriers (no envelopes applied to outputs). Operator A

modulates C and B2 modulates B1 with B2 having the feedback function applied. Default
patch settings sound is flute like.

NOTES
ALGO 3
3
Operator A
(Modulator)
+ Feedback A
Operator B2
(Carrier to X)
(Carrier) C B2 B1 (Carrier to Y)
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 3 has A as a modulator (with feedback) for all other 3 operators which act as
carriers (no envelopes applied to outputs). Operator B2 & C drive output X. Default patch
settings sound is flute like.
ALGO 4
4 Operator B2
B2 (Modulator)
+ Feedback
Operator B1
B1 (Modulator & Carrier)
Operator A
(Modulator) A
Operator C
(Carrier) C
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 4 has C and B1 as carriers (no envelopes applied). Operator A modulates C which
in turn is modulated by B1 which is modulated by B2. B2 has the feedback function applied.
Default patch settings sound is flute like.

NOTES
ALGO 5
5 Operator B1
Operator B2
(Modulator)
+ Feedback
B1 B2 (Modulator)
Operator A
(Modulator & Carrier) A
Operator C
(Carrier) C
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 5 has C and A as carriers (no envelopes applied to output). B1 and B2 are
modulators with B1 having feedback applied. Operator A also modulates C. Default patch
settings sound is flute like.
ALGO 6
Operator A Operator B2
(Modulator) A B2 (Modulator)
+ Feedback
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 6 has C and B1 as carriers (no envelopes applied to outputs). Operator A

modulates C and B2 modulates B1. Operator A has the feedback function applied. Default
patch settings sound is flute like.

NOTES
ALGO 7
7
(Carrier & Modulator) A B2 (Carrier & Modulator)
+ Feedback
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 7 has all operators contributing as carriers with C and B1 having no envelope
applied to the outputs. Operators A and B2 do utilise the envelopes on the carrier outputs
and also act as modulators to C and B1 respectively. Operator A also has feedback function
applied.Default patch settings sound is organ like.
ALGO 8
(Modulator) A (Carrier)
Operator B1
Operator C
(Carrier) C B2 B1 (Carrier)
+ Feedback
X Y
Carrier Carrier
Audio Out Audio Out
Algorithm 4 has C and B2 as carriers (no envelopes applied from C) to the X output.
Operator A modulates Operator C. B1 is stand alone with feedback function applied and
providing a carrier output at Y. Default patch settings sound is like a dulled flute.

8.5 Algorithms and Ratios NOTES
Frequency ratios determine how each of the operator functions in terms of

frequency and its scaling impact on each other. Frequency ratios are
essentially multipliers of the principle frequency and operate numerically
relative to frequency and should be considered with respect to pitch tuning
from an audio output perspective.
Operator A Input
(Note Pitch)
A Ratio A RATIO X
OFFSET
-1 to 0.999 0.25 16
A
Higher Pitch
0.25 , 0.50, 0.75, 1.00, 1.25, 1.50, 1.75, 2.00, 2.25, 2.50, 2.75,
3.00, 3.25, 3.50, 3.75, 4.00, 4.25, 4.50, 4.75, 5.00, 5.50, 6.00,
6.50, 7.00, 7.50, 8.00, 8.50, 9.00, 9.50, 10.00, 11.00, 12.00,
13.00, 14.00, 15.00, 16.00
Operator C
Input
(Note Pitch)
C Ratio C RATIO X
OFFSET
-1 to 0.999 0.25 16
C
Higher Pitch
0.25 , 0.50, 0.75, 1.00, 2.00, 3.00, 4.00, 5.00, 6.00, 7.00, 8.00,
9.00, 10.00, 11.00, 12.00, 13.00, 14.00, 15.00, 16.00
Operator A & C each have a dedicated ratio control. This operates by

multiplying the principle frequency of the pitch input of the operator. Higher
ratio values will give a higher pitch. The ratio is directly applied and
referenced to the frequency and therefore is mainly integers. The ratio offset
is applied to the ratio and is not relative to any multiples or frequencies. This
is similar to detune providing a more subtle variation.
Use offset to change and shape the timbre alone to get a feel for its effect.
Changing ratios then give a more dramatic pitch and modulation impact.

Operator B
Input Input
(Note Pitch) (Note Pitch)
X
B2 Ratio B RATIO X
OFFSET
-1 to 0.999
B2
0.25 16
B2
B1 Ratio
OFFSET
-1 to 0.999
B1
B1
0.25 16
Higher Pitch
Operator B group has a common ratio control for both B1 and B2. This operates by multiplying the
principle frequency of the pitch input of the operator. The ratio operates on a cyclic basis:
• Range 0.25 to 16 will be applied to the B2 Operator. B1 will have a ratio of 0.25 applied.
• As the ratio control steps over maximum of 16, then it restarts at 0.25 for B2 and the ratio for B1
will increase one increment to 0.5
• Further incrementing another full cycle for B2 over 0.25 to 16 range will iterate B1 one unit
forward also i.e. to 0.75 etc until 16 is also reached for B1.
Use offset to change and shape the timbre alone to get a feel for its effect. Offset has a dedicated
parameter for each of the B1 and B2 Operators.
Single B Operator Ratio Control
B2 Operator
Each full cycle of B2 Operator, iterates B1 Operator ratio one increment
0.25 0.50 0.75 1.00 2:00 3:00 4:00 5:00 6:00 7:00 8:00 9:00 10:00 11:00 12:00 13:00 14:00 15:00 16:00
0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25 0.25
B1 Operator
0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50 0.50
0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75 0.75
1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00 1:00
2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00 2:00
3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00 3:00
4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00 4:00
5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00 5:00
6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00 6:00
7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00 7:00
8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00 8:00
9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00 9:00
10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00 10:00
11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00 11:00
12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00 12:00
13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00 13:00
14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00 14:00
15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00 15:00
16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00 16:00

8.6 Detune NOTES
The detune parameter is similar to the ratios in that it affects the pitch
however is more aimed at offsetting the ratio in a subtle way to add
movement. Only operators A and B2 are affected by the detune parameter.
DTUN Parameter
Subtle / Light detune Heavy / aggressive detune
0 64 127
DTUN
(F)
Detune Offset
A B2
A RATIO B RATIO

NOTES 8.7 Feedback
Feedback is applied as self modulation. While the FDBK parameter can
affect the amount (0-127), the assignment of the feedback function is made
through the defined algorithm usually with operators A and B.
The feedback operator assigned with feedback is indicated by the square in

its corner.
Feedback option
assigned in the algorithm
A B
X Y

8.8 Harmonics NOTES
While Digitone is essentially an FM Synth a hint of additive synthesis helps

to simplify and supplement Digitone’s workflow. The default starting point of
operators is a sine wave which can be a little boring on its own. The HARM
harmonics parameter adds partials to the base sine wave and effectively
creates new wave-shapes generating audio with transitioning timbres and
sounds.
HARM Parameter
HARM
(E)
-26 0 +26
C A B1
Negative HARM values affect the Positive HARM values affect the
operators A and B1 operators A and B1
0.00 6.50 19.00 26.00
SINE WAVE SAW WAVE SQUARE WAVE HYBRID WAVE
Adding partials is like building up and combining more and more sine
waves. The HAM control adds partials for operator A, B1 - Controlled by the
positive values of the HARM parameter. The negative values of the HARM
parameter controls the partials applied to operator C.

NOTES
Getting to know the sound of waves
To become familiar with the sounds and timbres portrayed by different

waveforms the illustrations below to serve as a quick guide.
AMPLITUDE
AMPLITUDE
TIME TIME
SINE WAVE SQUARE WAVE

Pure Tone, No Harmonics, Whistle, Sub Hollow, Odd Harmonics, Clarinet and
Bass. Wind instruments.
AMPLITUDE
AMPLITUDE
TIME TIME
TRIANGLE WAVE SAMPLE & HOLD WAVE

Silky and Smooth, Few Harmonics, Wind Stutter, Glitchy, Variable, Unpredictable,
instruments, Wood, Mellow. mix of waves and harmonics.
AMPLITUDE
AMPLITUDE
TIME TIME
SAW TOOTH WAVE PULSE WAVE

Highly harmonic, church organ and Hollow, Odd Harmonics, Nasal, chorus
flutes, brass instruments. like when modulated.
These are generic examples only and the real application of the Digitone
synth engine and any additional parameters will be unique to the device.

8.9 Operator Envelopes NOTES
The envelopes shape the modulation level of operators to avoid harsh

harmonics and to control the amount the modulator affects a carrier.
Envelopes always shape a signal’s level over time. Think about a kick drum
which has a large initial transient (attack) followed by a slower fade out
signal as the sound decays. Envelopes are not only important in getting the
‘right’ sound in Digitone but also to ensure the sounds are usable in a
musical context.
Operator Envelope Configuration
Modulator Envelope / Level Carrier
Operator Group A
SYN2 SYN2
A Operator
Carrier
Level
Envelope
A
Operator Group B
SYN2 SYN2
B Operator
Level
Carrier
Envelope
B1 & B2

NOTES
Envelope Types and Settings
Traditional synth envelopes are ADSR (Attack, Decay, Sustain and

Release) or AD (Attack Decay). Digitone uses either ADE (Attack, Decay,
End) or ASDE (Attack, Sustain, Decay, End) which are expanded versions
of the AD envelope. Parameters and types shown below.
Traditional ADSR (used in the filter and amp envelopes) and AD Envelopes.
Trigger On Trigger Off
ATTACK DECAY SUSTAIN RELEASE

(time) (time) (level) (time)
Digitone ADE Envelope (Triggered) - ATRG or BTRG = On
Trigger On
LEV
Level
xDEL ATK DEC END

A or B DELAY ATTACK DECAY END
(time) (time) (time) (level)
Digitone ASDE Envelope (Gated) - ATRG or BTRG = Off
LEV
Level
xDEL ATK LEV DEC END

A or B DELAY ATTACK SUSTAIN DECAY END
(time) (time) (level) (time) (level)
Trigger would typically be a note on and off state

NOTES
Envelope Reset
Both envelopes have the option to configure a retrigger reset of the

envelope to on or off. This allows the envelope to restart from the initial
stage (start of delay or attack if delay is 0) when a new trigger condition is
recognised. The relevant parameters are ARST and BRST found on SYN2
Page 2. Also the PHRT phase reset can be configured which sets which
operator wave phase is restarted too.
Envelope Reset. ARST / BRST = Off
Trigger On Trigger On
Retrigger activated during envelope cycle. With reset (ARST/BRST) off, this will restart the
envelope from its current position i.e. no reset.
Envelope Reset. ARST / BRST = On
Trigger On Trigger On
Retrigger activated during envelope cycle. With reset (ARST/BRST) on, this will restart the
envelope from its original start position i.e. reset.
Phase Reset (Operator wave phase) - PHRT
OFF - No reset for any operator. C

C - Resets only C Operator.
ALL - Reset all operators phase
B1
A+B - Resets A, B1 and B2 Operators.

B2
A
A+B2 - Resets A and B2 Operators.

NOTES 8.10 X-Y Mix
X and Y are the carrier outputs from the defined algorithm that then are
passed to the overdrive and onwards through the sound shaping functions
and effects. Each of the X-Y outputs are generated by separate operators.
The audio passed to the output can either be driven with the operator
envelope or without. This is explained in the algorithm section.
Mix Parameter
HARM
(H)
-64 0 +64
Mix controls the balance

X between the outputs, crossfading
between each one.
Y
The outputs cross fade to allow a mix of timbres between the algorithm
individual operator outputs. The mix is not affecting overall volume level.
The dual output can be particularly useful for example with percussion,
creating a sharper transient part along with a longer tail.

NOTES
▌SETTING UP A SYNTH FROM SCRATCH - WORKFLOW EXAMPLE
1. Press [T1], [T2], [T3], or [T4] for the track to configure.
2. If required reset and clear the existing sound. Press [SETTINGS] for
GLOBAL SETTINGS > SOUNDS > CLEAR TRACK SOUND.
3. Press [SYN1] for Page 1 & 2. Start with the SYN1 Page Settings:-
• Adjust the MIX which cross fades between X and Y carriers. Its a
good practice to work on each one independently i.e. X then move
to Y. Iterate between the two and mix accordingly.
• Select the ALGO Algorithm 1-8, Turn (A). SYN1 Page 2 may need
level LEV adjusting to hear the operators. Feedback FDK is (G).
• Adjust the RATIO, Turn (B), (C), (D). This will adjust pitch and
tuning. Also the DTUN Detuning (F) and on page 2, the ratio
OFFSET (A), (B), (C), (D).
4. Press [SYN2] to set the Page 1 & 2 Modulation settings.
• On Page 2 select the type of envelope trigger or gate using ATRG

(B) and BTRG (F). Also the reset behaviour ARST (C), BRST (G).
• On Page 1, iterate the settings for each of the envelopes. These set
the ATK (A), DEC (B), End (C), and also the level of the modulator
to the carrier. Level also sets the sustain phase if ATRG is off.
5. Following a single step by step process doesn't get the job done when
working on sound design. Iterate through all steps to get the sound to
what you want.
6. Save the sound to the sound pool (or +Drive).
• Open the sound manager. Press [GLOBAL SETTINGS] > SOUND

MANAGER.
• Select the Sound Pool or +Drive in the ‘left’ search menu.
• Select a spare free slot in the list.
• In the ‘right’ operations menu, highlight the EXPORT TO HERE

option and press [YES]
• Name the sound if desired and add search tags. Press [YES] to
save or [NO] to cancel.

NOTES 8.11 Digitone Sound Design Tips
Sound design, on any synth is an iterative process and cannot simply follow
a step by step, singular process. It’s about construction, shaping, tweaking
and developing a sound over time. Here are some tips to help guide.
• Iterate across parameters. Keep working between and across

parameters to tweak and tune to take the direction you want. A
single workflow is difficult to achieve a complete solution and may
often even be a random journey.
• Ears are more important than eyes. Listen to how each parameter
affects the sound. Shape to the ear and get to a sound you want.
• No rules, no limits. Try anything. Give priority to the output sound

over theory or process. Very few people can establish exact
parameter settings needed and trial and error is a normal part of
sound design.
• Start with X or Y carrier and work on ‘one side’ of the FM Engine

first. When this gets to a place near to what you want move to the
other side. Then mix the two at the latter stages.
• Deconstruct factory patches and see how it’s done by others.
• Sounds may sound dull and lifeless when concentrating on the core
sound. The real variety and interest may only be unlocked when
modulation such as LFO’s are added as well as effects. Sometimes
it’s good to start big and work backwards - removing elements.
• Digitone has parameter randomisation. Use it. Press page + yes, i.e.
[SYN1] + [YES]. See what happy accidents can be created by
randomising pages of parameters.
• Remember you can restore last saved page parameters using page
+ no, i.e. [SYN1] + [NO].
• Saving sounds iteratively to the sound pool during the process

allows revisiting various ‘versions’ of the sound and taking it in
another direction of sound design.
• Good sound management is worth the effort. Use relevant names

for sounds and add tags for filtering in future and making it easy to
categories in the library as it develops.

NOTES

9
Filter and Amp
Filters are not always found in FM synthesis but to the sound, Firstly an envelope to shape the
nevertheless are a welcome feature in Digitone triggered sound, a pan for left and right balance
bringing subtractive familiarity into the sound and output level. This level is the sounds volume
design. The Filter [FLTR] page contains two and not track volume. The overdrive function
filters, a multi-mode filter which is preceded by which sits between the FM engine and filters is
a base-width filter. The multi-mode filter has a also set up in the AMP page. Finally the send
discrete envelope. Filters are important effect settings are found in the AMP page. These
components in Digitone (and synthesis in effects mean the sound can send an amount of
general) sound design shaping and carving out its signal through the chorus, delay and reverb
frequency content from the sound. The effect. Effects are covered elsewhere in this
multimode filter page contains the typical filter guide. The parameters of these functions can
parameters such as cut off and resonance as also be copied to other tracks too. As with all the
well as an ADSR Envelope which drives the pages the parameters are adjusted using the
filter cut off and which operates in both positive data entry rotary controls (A) - (H) within the
and negative configurations. The Amp [AMP] context of each page parameter.
page contains several elements also important

9 Filter and Amp
9.1 Digitone Filters NOTES
The use of filters is a core feature of subtractive synthesis, enabling

oscillator sounds to be carved (filtered) to develop and design a sound.
While filters are less frequent in FM models, Digitone has embraced this
functionality to add more unique character and help keep its sound design
more familiar and simple.
ADSR ADSR
Synth Engine Filter Envelope Amp Envelope

Output FLTR AMP

AMP FLTR FLTR AMP
AMP
Digitone has 2 filters that operate after the synth engine and overdrive
stage. The first filter is a base-width model while the second in series is the
multimode filter with a dedicated envelope. The output feeds into the amp
stage where send effects can also be added.
What is a Filter?
A filter in synthesis is a function that can reduce (attenuate) or remove the

frequency content within the audio range of a sound. A filter allows certain
frequencies to pass through. Normal human hearing spans a range of 20Hz
to 20kHz and filters therefore operate by removing content at various points
across the frequency range.
High Pass Filter - Example
Cut Off Frequency Resonance

Point at which the filter starts to affect A boost at the point of cutoff adds
the audio frequencies. resonance to affect the sound.
Gain reduction at the frequency defined.
ATTENUATION
2-Pole
4-Pole
Stop Transition Pass
Band Band Band
FREQUENCY
Typically 20Hz to 20kHz range

Filter and Amp 9
NOTES
Filter Definitions. Practical explanations of general filter terminology.
Cutoff Frequency.
The frequency point at which the filter starts to attenuate the audio signal.
Typically in the range of 20Hz to 20kHz represented by a range of 0-127 in
Digitone and identified as FREQ.
Resonance.
The gain can be boosted at the point of cutoff creating a resonant

frequency. This is called resonance and termed RESO in Digitone with a
range of 0-127.
HPF - High Pass Filter
A filter which allows higher frequencies, above the cutoff frequency, to pass
through and be audible. This is the pass band. Frequencies below the cutoff
are attenuated. TYPE is the option in Digitone.
LPF - Low Pass Filter.
A filter which allows lower frequencies, below the cutoff frequency, to pass
through and be audible. This is the pass band. Frequencies above the
cutoff are attenuated. TYPE is the option in Digitone.
Multi-Mode Filter.
A filter than can be set up into multiple configurations. For example this can
be high pass, low pass, band pass etc. TYPE is the option in Digitone.
Filter Poles.
The word ‘pole’ is a term normally used to describe the roll off slope of the
filter. This is the slope of how the filter attenuates the audio after the cutoff
point. A 2-Pole filter rolls off at 12dB/Octave (shallower and gentle) while a
4-Pole filter rolls off at 24dB/Octave (steeper, more aggressive). Digitone
also has a 1-Pole (6dB/Oct) base-width filter also which has a very shallow
slope.

9 Filter and Amp
Digitone has two filters. The first in the chain is a base-width filter. This is NOTES
similar to a band pass or back to back HPF and LPF types. The second in
line is a multi-mode filter with a LPF (2-Pole and 4 Pole options) and a HPF
(2-Pole). The multi-mode filter also has an envelope function. Option to set
TYPE to OFF is available to take the multi-mode filter out of the chain.
Base
0 127
BASE - WIDTH FILTER
ATTENUATION
Gentle roll off of back to back low pass and

high pass filters. The base (0-127) and the
0 127
width (0-127) parameters set its frequency
Width
range. The base-width filter is the first in line
of the two filters found on FLTR Page 2.
FREQUENCY Base = 0 and Width = 127 : No filter applied

Base = 0 and Width < 127 : Low Pass Filter
Base > 0 and Width = 127 : High Pass Filter
Base > 0 and Width < 127 : Base-Width Filter
Cutoff
0 127
HIGH PASS FILTER - HP
ATTENUATION
127 Gentle 2-Pole 12dB/Oct roll off. The

Resonance resonance range (0-127) sets amplitude gain
0 and the cutoff (0-127) parameter is set to
frequency. The multi-mode filter is found on
FLTR Page 1. HP is set with TYPE.
FREQUENCY
Cutoff
0 127
LOW PASS FILTER - P2
ATTENUATION
127 Gentle 2-Pole 12dB/Oct roll off. The

FLTR Page 1. P2 is set with TYPE.
FREQUENCY
Cutoff
0 127
LOW PASS FILTER - P4
ATTENUATION
127 More aggressive 4-Pole 24dB/Oct roll off. The

FLTR Page 1. P4 is set with TYPE.
FREQUENCY

Filter and Amp 9
9.2 Filter Page Parameters
The filter parameters including the envelope are available in the [FLTR] Page. Also consider the Trig
page LEN setting and alignment of sample length when using envelope times.
FLTR Page 1
A ATK B DEC C SUS D REL
The attack time phase of the The decay time phase of the The level of the sustain phase The release time phase of the
multi-mode filter’s ADSR multi-mode filter’s ADSR of the multi-mode filter’s ADSR multi-mode filter’s ADSR
envelope. envelope. envelope. envelope.
0-127 0-126, Inf 0-127 0-126, inf
E FREQ F RESO G TYPE H ENV
The multi-mode filter cutoff The resonance gain boost at Sets the low pass (2 and 4 Depth of envelope applied from
frequency. When mode is off will the cutoff frequency point. pole) and high pass filter mode the filter envelope (bipolar).
show a dotted line. When off will show dotted line of the multi-mode filter.
0-127 0-127 Off, P2, HP, P4 -64 to +63
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [FLTR]
key. Press [FLTR] + [NO] to reset parameter page to last saved state. Press [FLTR] + [YES] to randomise the parameters. [FLTR] + [REC] to
copy, [FLTR] + [STOP] to paste and [FLTR] + [PLAY] to clear page.

9 Filter and Amp
The base-width filter parameters are available in the [FLTR] Page 2.
FLTR Page 2
A FILTER DELAY B C D
Sets the delay time from the
trigger to the start of the filter
envelope attack phase. Also to
quick access from filter page 1,
Press [FUNC] + Turn (A).
0-127
E BASE F WIDTH G H
Sets the ‘base’ lower cutoff Sets the ‘width’ upper cutoff
frequency for the filter. frequency determining the
range for the filter.
0-127 0-127
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [FLTR]
key. Press [FLTR] + [NO] to reset parameter page to last saved state. Press [FLTR] + [YES] to randomise the parameters. [FLTR] + [REC] to
copy, [FLTR] + [STOP] to paste and [FLTR] + [PLAY] to clear page.

Filter and Amp 9
NOTES 9.3 Amplitude
The sound has been generated through the FM engine and shaped in
terms of its frequencies with the filters. The Amplitude, or AMP section as its
known, shapes the overall volume and output. The core elements of the
AMP section are the amplitude envelope, pan control and the sound
volume.
ADSR
PAN
(G)
Amp Envelope
AMP
From Filters AMP Pan
-64 0 +64
PAN controls the balance between
the left and right audio output. Left Right
127
VOL
(H)
VOL Controls the sound output
volume (this is not track volume
which is independent).

9 Filter and Amp
9.4 Amp Page Parameters
The amplitude parameters including the envelope, pan and volume are available in the [AMP] along
with the overdrive distortion. These are on the AMP Page 1 while effects sends appear on page 1.
A ATK B DEC C SUS D REL
Attack time of the amplitude Decay time of the amplitude Sustain level of the amplitude Release time of the amplitude
envelope. envelope. envelope. envelope.
0 - 127 0 - 127 0 - 127 0 - 126, Inf
E DRV F G PAN H VOL
Overdrive / distortion amount. Balances the output signal Level of sound. This is not the
Positioned after synth engine between left or right. Centre 0. same as the track level.
and before filter stage.
0 - 127.0 L64 - R63 0 - 127
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [AMP] key.
Press [AMP] + [NO] to reset parameter page to last saved state. Press [AMP] + [YES] to randomise the parameters. [AMP] + [REC] to copy,
[AMP] + [STOP] to paste and [AMP] + [PLAY] to clear page.

Filter and Amp 9
Effect Sends
The amplitude parameters including the envelope, pan and volume are available in the [AMP] along
with the overdrive distortion. These are on the AMP Page 2.
A B C D
E CHR F DEL G REV H AENR
Amount of send signal to the Amount of send signal to the Amount of send signal to the Amp envelope retrig behaviour.
chorus effect. delay effect. reverb effect. On resets envelopes at each
consecutive trigger
Off, 0.01 - 127.0 Off, 0.01 - 127.0 Off, 0.01 - 127.0
On, Off
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [AMP] key.
Press [AMP] + [NO] to reset parameter page to last saved state. Press [AMP] + [YES] to randomise the parameters. [AMP] + [REC] to copy,
[AMP] + [STOP] to paste and [AMP] + [PLAY] to clear page.

9 Filter and Amp
9.5 Filter And Amp Envelopes NOTES
Envelopes are used by both the multi-mode filter and the amp. These are
traditional ADSR (Attack, Decay, Sustain, Release) envelopes. The filter
envelope is a bipolar ADSR and includes a pre-attack delay.
ADSR ENVELOPE (FILTER)

+63
0 ENV
DELAY ATTACK DECAY SUSTAIN RELEASE
(time) (time) (time) (level) (time)
-64

Filter and Amp 9
NOTES
The AMP envelope is an ADSR type and also has a configurable re-trigger
option using the AENR parameter switch located on AMP Page 2.
ADSR ENVELOPE (AMP)

+127
0
ATTACK DECAY SUSTAIN RELEASE
(time) (time) (level) (time)
Envelope Reset. AENR = On (Default Setting)
Trigger On Trigger On Trigger On
Retrigger activated during envelope cycle from consecutive triggers. With reset (AENR) on, this
will restart the envelope from its original starting position.
Envelope Reset. AENR = Off
Trigger On Trigger On Trigger On
Reset will not activate during envelope cycle from consecutive triggers. With reset (AENR) off,
this will allow the envelope to continue through its cycle.
Polyphony voice settings may affect how the retrigger sounds (i.e. if it steals a voice). The reset is
more profound when only one voice is used. Some envelope reset settings may cause audible ‘clicks’
due to the operator phase position at the note trigger. Consider SYN2 page 2 PHRT to help here.

NOTES

10
LFO’s
Digitone has two Low Frequency Oscillators or modulation patches can offer a lot of sound
LFO’s for audio and also one for MIDI. These design power and creative options. Creating
generate wave-shapes that operate at a slow movement in sound is a common approach to
frequency. Unlike audio oscillators which synthesis sound design. It occurs naturally in
generates sound in the 20Hz to 20kHz range, many acoustic and classical instruments, for
an LFO generates waves below the 20Hz level. example the vibrato on a guitar. The Digitone
They do not generate audible sound in this LFO’s have a number of configurable options as
frequency range as they serve a very different well as a large number of destinations in the
purpose. LFO’s generate waves to modulate synth, filter and amp stages all available to be
parameters to bring movement and variation modulated. Each LFO parameter set is available
into a sound. Imagine manually adjusting the in the parameter pages. LFO Page 1 refers to
stereo pan control by turning it to vary the LFO1 and Page 2 for LFO2. Do not
sound placement as an effect. Now imagine underestimate the use and application of LFO’s,
controlling this with an LFO. Simple usage of not only do they bring life and interest to a sound
LFO’s can make a massive difference to the but they can also be very much a part of creating
interest in a sound, building complex a sound’s timbre and tone.

10 LFO’s
10.1 LFO Page Parameters
The low frequency oscillator parameters for LFO1 are available in the [LFO] Page 1. The two LFO’s
host identical parameter sets with the page layouts identical from OS rel 1.32 onwards.
LFO 1 - Page 1
A SPD B MULT C FADE D DEST
LFO1 speed. Synced with BPM Multiplier of LFO1 SPD Fades In (negative value) or Destination options for LFO1.
or defined speed. Also option to parameter (on page 1) by a fades out (positive value) LFO1 The parameter to be modulated
reverse speed (negative value). fixed or variable BPM factor.
-64 to +63 1, 2, 4, 8, 16, 32, 64, 128, 256, -64 to 63 Various

512, 1K, 2K (incl BPM)
E WAVE F SPH G MODE H DEP
Selects the shape for LFO1 Start point of LFO1. This is the Trigger behaviour of LFO1 Sets the amount of modulation
from one of seven options. phase start when triggered. when a note is triggered. applied for LFO1. This can be
inverted or normal.
Triangle, Sine, Square, Saw, 0-127 FRE, TRG, HLD, ONE, HLF -64 to +63
Exponential, Ramp, Random.
The current value of each parameter is displayed when the control is adjusted or all parameter setting can be displayed by holding its [LFO] key.
Press [LFO] + [NO] to reset parameter page to last saved state. Press [LFO] + [YES] to randomise the parameters. [LFO] + [REC] to copy, [LFO]
+ [STOP] to paste and [LFO] + [PLAY] to clear page.

LFO’s 10
The low frequency oscillator parameters for LFO2 are available in the [LFO] Page 2. The two LFO’s
host identical parameter sets with the page layouts identical from OS rel 1.32 onwards.
LFO 2 - Page 2
LFO2 speed. Synced with BPM Multiplier of LFO2 SPD Fades In (negative value) or Destination options for LFO2.
or defined speed. Also option to parameter (on page 1) by a fades out (positive value) LFO2 The parameter to be modulated
reverse speed (negative value). fixed or variable BPM factor.
-64 to +63 1, 2, 4, 8, 16, 32, 64, 128, 256, -64 to 63 Various

512, 1K, 2K (incl BPM)
Selects the shape for LFO2 Start point of LFO2. This is the Trigger behaviour of LFO2 Sets the amount of modulation
from one of seven options. phase start when triggered. when a note is triggered. applied for LFO2. This can be
inverted or normal.
Triangle, Sine, Square, Saw, 0-127 FRE, TRG, HLD, ONE, HLF -64 to +63
Exponential, Ramp, Random.

10 LFO’s
10.2 LFO Wave Parameter Overview NOTES
The WAV Wave options consists of 7 different types. Various configurable

parameters along with the wave shape can be selected for the two LFO’s.
LFO Functions
Speed - SPD
LFO speed at nominal values or synced to
BPM tempo using [FUNC] + Turn (A).
LFO1 Page 1 / LFO2 Page 2
Start Point - SPH

Phase start point.
LFO1 Page 1 / LFO2 Page 2 Multiplier - MULT
X LFO speed multiplier of SPD.
+128
Depth - DEP
Depth / Polarity
LFO1 Page 1
LFO2 Page 2
-128
Wave Shape - WAVE

Sine is illustrated but 7 shape options
are available for selection.
Trigger Mode - MODE Fade in / out - FADE

Sets the note trigger behaviour A fade in (-) or a fade out (+) can
of the LFO. be applied
LFO1 Page 1 / LFO2 Page 2 LFO1 Page 1 / LFO2 Page 2
Destination Parameter - DEST

Function / parameter which will be
modulated by the LFO.
Destinations are available for the

Synth, Filter and Amp stages.

LFO’s 10
NOTES
▌SELECTING AN LFO MODULATION DESTINATION
2. Press [LFO] to open a page of the LFO parameter settings. Page 1

represents the LFO1 parameters. Double tap [LFO] to access LFO2
parameters on Page 2.
3. Turn (D) on the page for the LFO selected, to scroll through the
destination locations available. If a sound is playing the LFO effect will
be previewed in the sound when scrolling
4. When highlighting the desired destination press [YES] to confirm

selection.
5. The parameter selected will display inverse in the destination list and
the parameter name will be shown in the DEST parameter box.
▌SETTING UP A BASIC LFO
2. Press [LFO] to open page of the LFO parameter settings and set the
destination using data entry (D).
3. Turn (E) to select a desired wave shape from the 7 available.
4. Turn (A) to adjust the LFO Speed. Also a speed multiplier is available
and can be adjusted with respect to SPF by turning (B). The multiplier
may need to be adjusted down at the outset as the defaults are often
too fast.
5. Turn (H) to adjust the depth and amount of effect that the LFO applies
to the destination parameter.
6. Iterate these settings to achieve the desired results

10 LFO’s
NOTES
▌SETTING UP ADVANCED LFO FUNCTIONS
2. Press [LFO] to open page of the LFO parameter settings and set the
destination using data entry (D).
3. Turn (E) to select a desired wave shape from the 7 available.
4. Turn (A) to adjust the LFO Speed. Also a speed multiplier is available
and can be adjusted with respect to SPF by turning (B). The multiplier
may need to be adjusted down at the outset as the defaults are often
too fast.
5. Turn (H) to adjust the depth and amount of effect that the LFO applies
to the destination parameter..
6. Turn (C) to apply a fade in or out of the LFO. The control is bi-polar
ranging between -64 and + 63. Positive values create a fade out and
negative values create a fade in.
7. The SPH wave cycle start point can be adjusted. Turn (F) to adjust the
start point of the wave phase.
8. The MODE sets the behaviours of how the trigger of a wave cycle is
handled. Turn (G) to set the mode.
FADE
Turn (B) or (F) to set the fade in or out settings.
Fade In Fade Out
-64 -40 -25 20 40 63

LFO’s 10
NOTES 10.3 LFO Wave Shapes
The WAVE parameter option consists of 7 different types of shape. A wave
shape can be selected for each of the two LFO’s.
Wave Options
AMPLITUDE
AMPLITUDE
TIME TIME
TRIANGLE WAVE (TRI) SINE WAVE (SIN)

AMPLITUDE
AMPLITUDE
TIME TIME
SQUARE WAVE (SQR) SAW TOOTH WAVE (SAW)

AMPLITUDE
AMPLITUDE
TIME TIME
EXPONENTIAL (EXP) RAMP (RMP)

AMPLITUDE
TIME
RANDOM (RND)

10 LFO’s
10.4 LFO Destinations (Audio Tracks) NOTES
The destination list for the synth, filter and amp stages for audio tracks is
covered in these tables.
Destination Options (Audio Tracks)
Page Parameter LFO Destination (Audio Tracks)

Meta None Off
SYN1 P1 ALGO FM Engine algorithm
SYN1 P1 Ratio C Operator C Ratio
SYN1 P1 Ratio A Operator A Ratio
SYN1 P1 Ratio B Operator B Ratio
SYN1 P1 HARM Harmonics
SYN1 P1 DTUN Detune
SYN1 P1 FDBK Operator Feedback
SYN1 P1 MIX X-Y Mix
SYN2 P1 ATK Envelope A Attack Stage
SYN2 P1 DEC Envelope A Decay Stage
SYN2 P1 END Envelope A End
SYN2 P1 LEV Envelope A Level
SYN2 P1 ATK Envelope B Attack Stage
SYN2 P1 DEC Envelope B Decay Stage
SYN2 P1 END Envelope B End
SYN2 P1 LEV Envelope B Level
SYN2 P2 ADEL Envelope A Start Delay
SYN2 P2 BDEL Envelope B Start Delay
SYN Pitch Pitch Operators All
SYN Pitch Pitch Operators A & B2
SYN2 P1 RATIO All Operators Ratio
SYN2 P1 LEV Envelope A & B Level
SYN2 P1 ATK Envelope A & B Attack Stage
SYN2 P1 DEC Envelope A & B Decay Stage
SYN2 P1 END Envelope A & B End
SYN2 P2 ADEL / BDEL Envelope A & B Start Delay
SYN1 P2 RATIO OFFSET C Operator C Ratio Offset
SYN1 P2 RATIO OFFSET A Operator A Ratio Offset
SYN1 P2 RATIO OFFSET B1 Operator B1 Ratio Offset

LFO’s 10
NOTES
Destination Options (Audio Tracks)

FLTR P1 FREQ Cut off Frequency Multi-Mode Filter
FLTR P1 RESO Filter Resonance Multi-Mode Filter
FLTR P1 ENV Envelope Depth Multi-Mode Filter
FLTR P1 ATK Attack Time - Envelope Multi-Mode Filter
FLTR P1 DEC Decay Time - Envelope Multi-Mode Filter
FLTR P1 SUS Sustain Level - Envelope Multi-Mode Filter
FLTR P1 REL Release Time - Envelope Multi-Mode Filter
FLTR P2 BASE Filter base frequency point
FLTR P2 WIDTH Filter width frequency range
AMP P1 ATK Attack Time - Envelope
AMP P1 DEC Decay Time - Envelope
AMP P1 SUS Sustain Level - Envelope
AMP P1 REL Release Time - Envelope
AMP P1 DRV Overdrive Amount
AMP P1 PAN Pan Value
AMP P1 VOL Volume Level
AMP P2 REV Reverb Send
AMP P2 DEL Delay Send
AMP P2 CHR Chorus Send

10 LFO’s
10.5 LFO Speed Model NOTES
Two parameters are available for setting the LFO speed. These are the SPD
Speed parameters which sets the core LFO speed and the MULT parameter
which applies a multiplier to SPD.
Frequency. This can be incremental values

synced to BPM or nominal values.
Multiplier - MULT
X LFO speed multiplier of SPD.
BPM
1 2 4 8 16 32 64 128 256 512 1K 2K

Nominal Values
1 2 4 8 16 32 64 128 256 512 1K 2K
Speed - SPD
LFO speed at nominal values or synced to BPM
tempo using [FUNC] + Turn (A).
-64 to +63 Range

Negative values reverse the wave directions
LFO Speed in whole note values, generated from SPD & MULT parameter settings
MULT Value
1 2 4 8 16 32 64 128 256 512 1K 2K

1 128 64 32 16 8 4 2 1 1/2 1/4 1/8 1/16
2 64 32 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32

SPD Value
4 32 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64
8 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128
16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256
32 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 1/512
64 2 1 1/2 1/4 1/8 1/16 1/32 1/64 1/128 1/256 1/512 1/1024

LFO’s 10
NOTES 10.6 LFO Mode
Modes set the LFO behaviour when triggered by a note.
Trigger
AMPLITUDE Trigger FREE RUNNING (FRE)
LFO runs freely and continuously and
ignores any trig start / stop events.
TIME
Trigger Trigger TRIGGERED (TRG)

AMPLITUDE
The LFO restarts from its start position

when a note event is triggered.
TIME
Trigger Trigger Trigger HOLD (HLD)

AMPLITUDE
LFO runs freely in the background. The

current value in the cycle is held when a
note is triggered until the next note is
triggered where it will switch to hold the
cycle position at the new trigger.
TIME
Trigger
ONE CYCLE (ONE)
AMPLITUDE
LFO runs from the start when triggered

and runs for one cycle only.
TIME
Trigger
HALF CYCLE (HLF)
AMPLITUDE
LFO runs from the start when triggered

and runs for only half of one cycle or half
way through the wave.
TIME

10 LFO’s
10.7 MIDI LFO
An LFO also exists for MIDI tracks which can be used for modulation of SYN1 and FLTR
parameters. This is available in MIDI Mode accessed by pressing [MIDI].
LFO speed. Synced with BPM Multiplier of LFO1 SPD Fades In (negative value) or Destination options for LFO The
or defined speed. Also options parameter (on page 1) by a fades out (positive value) LFO1 parameter to be modulated
to reverse speed with negative fixed or variable BPM factor.
value. -64 to 63
-64 to +63 Various
Selects the shape for LFO from Start point of LFO1. This is the Trigger behaviour of LFO when Sets the amount of modulation
one of seven options. phase start when triggered. a note is triggered. applied for LFO2. This can be
inverted or normal.
0-127
Triangle, Sine, Square, Saw,
Exponential, Ramp, Random. -64 to +63

LFO’s 10
NOTES 10.8 LFO Destinations (MIDI Tracks)
The destination list for the synth and filter stages for MIDI destinations is
covered in these tables.
Destination Options (MIDI Tracks)
Page Parameter LFO Destination (MIDI Tracks)

Meta None Off
SYN1 or SYN2 PB Pitch Bend
SYN1 or SYN2 AT Aftertouch
SYN1 or SYN2 MW Mod Wheel
SYN1 or SYN2 BC Breath Control
FLTR VAL1 CC1 Value
FLTR VAL2 CC2 Value
FLTR VAL3 CC3 Value
FLTR VAL4 CC4 Value
FLTR VAL5 CC5 Value
FLTR VAL6 CC6 Value
FLTR VAL7 CC7 Value
FLTR VAL8 CC8 Value

NOTES

11
Effects
Digitone has three send effects which are chorus can be fed to the delay and reverb, delay
chorus, delay and reverb. These are set at to the reverb as well as outputting the return back
pattern level meaning that the effects are to the audio channel. The effects can be a key
common for all sounds across that pattern. part of sound design and help to develop a more
Effects are saved with the pattern. In addition expansive and interesting sound. Modulating
the master output contains a master overdrive effect send parameters can also add interest as
function which introduces distortion into the well as developing happy accidents using the
main master audio output. This is distinct from effect page parameter randomisation.
the overdrive found between the FM engine Remember holding the page and pressing [NO]
and filters and located on the AMP page. The will automatically revert to previously saved
actual effect settings are self contained on the states and avoid retracing steps when
secondary pages accessed for chorus, delay experimenting with effect setups. In these cases
and reverb by using [FUNC] + [SYN2], [FLTR], use [FUNC] + Page + [YES] to randomise the
and [AMP] respectively. The master page is page parameters and [FUNC] + Page + [NO] to
accessed with [FUNC] + [LFO]. The effects restore previous state.
also provide a send to other effects. So the

11 Effects
11.1 Effects Overview NOTES
The three effects chorus, delay, reverb, operate as send effects with
additional send functionality between the effects themselves. The sounds
send amount is controlled from page 2 of main AMP page. The audio inputs
controlled from the master page also allows the external audio in to be sent
to the effects.
Chorus
Delay
AMP
Delay
Delay
AMP
Effects Sends
Reverb
AMP
Chorus Chorus
Master
Chorus
Delay Delay
Master
Delay
Reverb Reverb
Master
Reverb
Audio Input
Audio Output
The main effect controls are found under the secondary options of pages
for the SYN2, FLTR and AMP functions. It is important to note that the effect
settings are saved with the pattern not the individual sound.

Effects 11
11.2 Chorus Page & Parameters
The main chorus parameters are available in the [FUNC] + [SYN2] Page. Chorus can provide width
and thicken a sound, adding movement and interest. VOL control adjusts the effect mix output level.
A DPTH B SPD C HPF D WDTH
Depth of modulation applied Modulation speed for the High pass filter. Applied at the Chorus stereo width amount.
from its LFO to the chorus. chorus effect from its LFO. input to the chorus to help
shape the pre-effect sound.
0-127 0-127 0-127 0-127
E F DEL G REV H VOL
Send amount of chorus (wet) to Send amount of chorus (wet) to Mix volume level for the chorus
direct through the delay effect. direct through the reverb effect. output audio signal.
0-127 0-127
0-127
The current value of each parameter is displayed when the control is adjusted or all parameter setting will be displayed when adjusting its
parameter. Press [FUNC] + [SYN2] + [NO] to reset parameter page to last saved state. Press [FUNC] + [SYN2] + [YES] to randomise the
parameters.

11 Effects
NOTES
Chorus
Input Filter Effect Stereo Output

L
Chorus
WDTH
SPD DPTH VOL R
LFO
Chorus
Delay
AMP
CHR
Chorus
Chorus
DEL
Delay
Delay
REV Reverb
Reverb
External audio REV
send is mono
Chorus
Master
CHR
Audio Input Audio Output
Effects Engine
Effect Send
LFO Modulation (option)

Effects 11
NOTES 11.3 Using the Chorus Effect
Chorus operates as send / return with the send amount for the sound set in
the AMP Page. The external audio input can also be sent through the
chorus. The main parameter settings are in the CHORUS page and are
saved as part of the pattern and not with the sound.
▌SETTING A PATTERN SEND LEVEL - CHORUS
1. Select amp page 2, Press [AMP], [AMP].
2. Adjust the data entry control (E) to set the send level of the sound to the
effect. This sets the amount of the sound audio that is routed into the
chorus effect.
3. The chorus return feeds the affected sound back to the audio path.
▌ACCESSING THE CHORUS EFFECT SETTINGS
1. The effect is a common effect meaning settings are common but send
level is adjustable per track.
2. Select [FUNC] + [SYN2] to open the CHORUS effect page. The key
illuminates blue instead of red when selecting the primary synth page.
3. Adjust the data entry controls (A) … (D) to set the chorus parameter
settings.
▌SENDING THE CHORUS EFFECT INTO THE DELAY
1. The chorus has the option to also feed wet signal into the delay effect.
2. Select [FUNC] + [SYN2] to open the chorus effect page. The key
illuminates blue instead of red.
3. Adjust the DEL data entry control (F) to adjust the amount to feed into
the reverb. Range is 0-127.

11 Effects
NOTES
▌SENDING THE CHORUS EFFECT INTO THE REVERB
1. The chorus has the option to also feed wet signal into the reverb effect.
2. Select [FUNC] + [SYN2] to open the chorus effect page. The key
3. Adjust the REV data entry control (G) to adjust the amount to feed into
▌SENDING EXTERNAL AUDIO IN THROUGH THE CHORUS EFFECT
1. Select [FUNC] + [LFO] to open the master page. The key illuminates
blue instead of red.
2. Adjust the CHR data entry control (E) to adjust the send amount of the
incoming audio (converted to mono) to feed into the chorus. The
available range is 0-127.

Effects 11
11.4 Delay Page & Parameters
The main delay parameters are available in the [FUNC] + [FLTR] Page. Delay can provide depth and
can create more time based elements to a sound. VOL control adjusts the effect mix output level.
A TIME B X C WID D FDBK
Delay time relative to the tempo Ping-pong delay option to Delay stereo width amount. Amount of delay fed-back in to
BPM measured in 128th Notes. alternate across stereo width. create a more sustained effect.
[FUNC] + Turn (A) for step Higher values more ‘infinite’
changes. sustained delay.
1-128 On, Off -64 to 630 0-198
E HPF F LPF G REV H VOL
High pass filter to shape the Low pass filter to shape the Send amount of delay (wet) to Mix volume level for the delay
frequency. Sets the HPF cutoff frequency. Sets the LPF cutoff direct through the reverb effect. output audio signal.
of the delay. frequency of the delay.
0-127 0-127 0-127 0-127
parameter. Press [FUNC] + [FLTR] + [NO] to reset parameter page to last saved state. Press [FUNC] + [FLTR] + [YES] to randomise the
parameters.

11 Effects
NOTES
Delay
Input Filter Effect Stereo Output

L
Delay
X WDTH
TIME VOL R
FDBK
X - Ping Pong
On Signal alternates left / right. WID controls panning
Off Signal is positioned manually, WID sets stereo field.
WID - Width
Delay pan width across the stereo field.
LFO
Delay
Delay
AMP
DEL
Chorus
Chorus
DEL
Delay
Delay
REV Reverb
Reverb
External audio REV
send is mono
Delay
Master
DEL
Effects Engine
Effect Send

Effects 11
NOTES 11.5 Using the Delay Effect
Delay operates as send / return with the send amount for the sound set in
the AMP Page. The external audio input can also be sent through the delay.
The main parameter settings are in the DELAY page and are saved as part
of the pattern and not with the sound.
▌SETTING A PATTERN SEND LEVEL - DELAY
2. Adjust the data entry control (F) to set the send level of the sound to the
effect. This sets the amount of the sound audio that is routed into the
delay effect.
3. The delay return feeds the affected sound back to the audio path.
▌ACCESSING THE DELAY EFFECT SETTINGS
2. Select [FUNC] + [FLTR] to open the DELAY effect page. The key
illuminates blue instead of red when selecting the primary filter page.
3. Adjust the data entry controls (A) … (F) to set the delay parameter
settings. For time delay press [FUNC] + Turn (A) to adjust the time
parameter in time interval steps.
Digitone Delay Chart

Time Delay Divide Ratio Time Delay Divide Ratio Time Delay Divide Ratio
Turn (A) [FUNC] + (A) Turn (A) [FUNC] + (A) Turn (A) [FUNC] + (A)
1 1/128 8 1/16 42.67 1/3 (1/2 T)

2 1/64 10.67 1/2 (1/8 T) 48 1/4 D
2.67 1/48 (1/32 T) 12 1/16 D 64 1/2
3 1/64 D 16 1/8 48 1/4 D
4 1/32 21.33 1/6 (1/4 T) 96 1/2 D
5.33 1/24 (1/16 T) 24 1/8 D 128 1
6 1/32 D 32 1/4
Includes triplet (T) and dotted (D) timings.

11 Effects
NOTES
▌SENDING THE DELAY EFFECT INTO THE REVERB
1. The delay has the option to also feed wet signal into the reverb effect.
2. Select [FUNC] + [FLTR] to open the delay effect page. The key
3. Adjust the REV data entry control (G) to adjust the amount to feed into
▌SENDING EXTERNAL AUDIO IN THROUGH THE DELAY EFFECT
2. Adjust the DEL data entry control (F) to adjust the send amount of the
incoming audio (converted to mono) to feed into the delay. The

Effects 11
11.6 Reverb Page & Parameters
The main reverb parameters are available in the [FUNC] + [AMP] Page. Reverb can provide a sense
of space and ambience to a sound. VOL control adjusts the effect mix output level.
A PRE B DEC C FREQ D GAIN
Pre-delay time. Simulates a Decay time. Length of the Shelving frequency used to Shelving frequency used to
room sound from initial sound decay which simulates room dampen the reverb around the control the frequency level. This
to the first reflections. size. frequency selected dampens the around the treble
range
0-127 1-127, Inf 0-127 0-127
E HPF F LPF G H VOL
High pass filter to shape the Low pass filter to shape the Mix volume level for the reverb
frequency. Sets the HPF cutoff frequency. Sets the LPF cutoff output audio signal.
of the reverb. frequency of the reverb.
0-127 0-127 0-127
parameter. Press [FUNC] + [FLTR] + [NO] to reset parameter page to last saved state. Press [FUNC] + [FLTR] + [YES] to randomise the
parameters.

11 Effects
NOTES
Reverb
Input Filter Effect Damping EQ Output

L
Reverb
FREQ GAIN
PRE
DEC VOL R
LFO
Reverb
Delay
AMP
REV
Chorus
Chorus
DEL
Delay
Delay
REV Reverb
External audio Reverb
send is mono REV
Reverb
Master
REV
Effects Engine
Effect Send

Effects 11
NOTES 11.7 Using the Reverb Effect
Reverb operates as send / return with the send amount for the sound set in
the AMP Page. The external audio input can also be sent through the
reverb. The main parameter settings are in the REVERB page and are
saved as part of the pattern and not with the sound.
▌SETTING A PATTERN SEND LEVEL - REVERB
2. Adjust the data entry control (G) to set the send level of the sound to the
effect. This sets the amount of the sound audio is routed into the reverb
effect.
3. The reverb return feeds the affected sound back to the audio path.
▌ACCESSING THE REVERB EFFECT SETTINGS
2. Select [FUNC] + [AMP] to open the REVERB effect page. The key
illuminates blue instead of red when selecting the primary amp page.
3. Adjust the data entry controls (A) … (G) to set the reverb parameter
settings.
▌SENDING EXTERNAL AUDIO IN THROUGH THE REVERB EFFECT
2. Adjust the REV data entry control (G) to adjust the send amount of the
incoming audio (converted to mono) to feed into the reverb. The

11 Effects
11.8 Setting the Overdrive NOTES
Digitone has two discrete overdrive functions which can technically be

considered as effects. The first is the drive function which feeds into the
filters from the FM synth engine. The second is the last function in the audio
path and applies distortion and overdrive to the overall output.
▌SETTING THE SYNTH DRIVE INTO THE FILTERS
1. Press [AMP] to select the amp page 1.
2. Turn (E) to adjust DRV. This should be adjusted iteratively while

listening to the sound to tweak the right level and get the distortion
clipping level right.
▌SETTING THE OUTPUT OVERDRIVE
1. Press [FUNC] + [LFO] to select the master output.
2. Turn (H) to adjust OVRD. This should be adjusted iteratively while

listening to the sound to tweak the right level. This brings distortion into
the overall output.
Audio
Engine
SYN1 & SYN2
X Y Effect
Returns
Overdrive Filters Amp Mixer

AMP FLTR AMP MASTER
DRV
Overdrive
MASTER
LFO
OVRD
Audio
Overdrive Control Output
Function

Effects 11
NOTES 11.9 Randomising Parameter Pages
The parameter page settings can be randomised for creative experimental
and accidental sound design. It could be argued that randomisation isn't
technically an effect. However given that it is a feature that can apply
effects it’s good to refresh this function in this section.
Randomisation can be applied to all SYN1, SYN2, FLTR, AMP and LFO pages, also
the three Chorus, Delay and Reverb effects. Limited parameters can be randomised on
the TRIG page i.e. PTIM, PORT and limited parameters on the Master page i.e. OVRD.
▌RANDOMISING PARAMETER PAGE SETTINGS
1. Select the desired parameter page to randomise. Example, FLTR /

DELAY for illustration.
2. Press [FLTR] + [YES] to shuffle / randomise the settings of the page.
3. For effect pages, press [FUNC] + [DELAY] + [YES]
4. Try various iterations to find a satisfactory setting or use to randomise

during live play.
▌RESETTING THE RANDOMISED SETTINGS OF A PARAMETER PAGE
1. After randomising a parameter page settings. Example, FLTR / DELAY

for illustration.
2. Press the parameter page eg [FLTR] + [NO] to restore the page to its
previous saved state.
3. For effect pages, press [FUNC] + [DELAY] + [NO] to restore the page to
its previous saved state.

NOTES

12
MIDI Setup
Digitone not only has the power and feature set compliant host including audio over USB. MIDI
to support audio tracks but also has the ability to and USB can be configured in the GLOBAL
sequence MIDI tracks at the same time. Settings menu, within the system, audio routing
Digitone has a number of powerful features and MIDI config sub-menus respectively. Output
when working with other MIDI gear. MIDI allows to USB is recommended instead of using both
control to and from external equipment, MIDI+USB when only USB is connected as this
synchronised with the Digitone sequencer and avoids speed limitations of the MIDI+USB
therefore taking advantage of the powerful output. Control of MIDI CC, chords, and general
sequencing options synonymous with Elektron control of external MIDI equipment is possible.
gear. External MIDI devices, controllers, MIDI Tracks also operate with parameter locks
keyboards or synths can easily be connected and modulation. MIDI communications also has
using traditional 5 Pin MIDI or by a USB a turbo speed function which can be set when
connection. Digitone has MIDI IN, MIDI OUT communicating with other compatible Elektron
and also a MIDI Thru physical connectors which gear. A final note is that all connections to
transfer the MIDI IN through Digitone. MIDI Out external gear carries inherent risks. These
(Sync A) and MIDI Thru (Sync B) doubles up as examples are for illustration purposes only and
DIN Sync to enable connection to legacy it is recommended to fully ensure compatibility
equipment. All 3 use 5 Pin MIDI cables. A USB between your exact device connections before
2.0 connector also enables external connection proceeding.
to a PC / MAC and has the ability to also control
MIDI. Digitone can operate as a USB class

12 Input & Output
12.1 MIDI Overview NOTES
To clarify some of the terminology and technology around MIDI with respect
to Digitone a brief overview is a good starting point. MIDI is a protocol for
communicating between devices. Traditionally this is by use of a 5-Pin DIN
cable. USB MIDI has become more popular of late. Both 5 pin MIDI and
USB MIDI are supported by Digitone.
5 PIN MIDI
MIDI DIN 24 MIDI DIN 48 MIDI
This is available from MIDI This is available from MIDI If the output settings are set
Out and Thru and enables Out and Thru and enables to MIDI, the connector will
syncing of classic devices. syncing of classic devices. transmit MIDI data but no
This uses 0v & 5v messages This uses 0v & 5v messages pulse signals. Never connect
as sync signals at 24 pulses as sync signals at 48 pulses MIDI gear to incompatible
per quarter note (PPQN). per quarter note (PPQN). DIN signals.
When set to DIN 24 in the When set to DIN 48 in the
settings midi sync pulses are settings midi sync pulses are
available but no midi data is available but no midi data is
transmitted transmitted
MIDI CC MSB & LSB MIDI STANDARDS
MIDI Control and Note Most Significant Byte and While there are MIDI
change messages are used Least Significant Byte. MSB standards defined, many
to communicate with provides the 128 data synth developers interpret
messages across midi values resolution which is ok for this in slightly different ways.
of 0-127. most midi applications. More It’s always worth reviewing
advanced devices use MSB the documentation with each
and LSB values increasing to fully understand each
resolution to 16,384 steps. device level implementation.
NRPN SYSEX SDS
Non-Registered Parameter System Exclusive. This is an Sample Dump Standard. This

Number is part of the MIDI expansion of the normal MIDI is an older transfer protocol
standard. CC and NRPN are communications set up and is used for transferring data to
technically very similar but typically used for transferring and from devices. Elektron
NRPN is less well defined in data such as back ups, used the classic C6 Software
the standards. NRPN uses patches, presets and for this function, however
more data and can give firmware updates to and from Elektron Transfer software is
better control. devices. more up to date.

Input & Output 12
12.2 MIDI Configuration Setting Options
Digitone’s MIDI configuration parameters are are found in the GLOBAL

SETTINGS Menu. Most are under MIDI Config, although the system menu
also hosts some USB settings.
▌ACCESS TO GENERAL MIDI CONFIGURATION
1. Press [SETTINGS] to select the GLOBAL SETTINGS.
2. Highlight [MIDI CONFIG] using (LEVEL/DATA) or [UP] [DOWN] to scroll

the options.
3. Press [YES] to select MIDI CONFIG and reach the submenus.
4. There are 3 submenus to consider, Sync, Port Config and Channels.

Change setting options using [LEFT] or [RIGHT].

12 Input & Output
SETTINGS > MIDI CONFIG
Sub Menu Option Name Description

Sync Clock Receive MIDI Clock sent by external devices recognised by Digitone (On)/Off
Sync Clock Send MIDI Clock controlled and sent by Digitone On/(Off)
Sync Transport Receive MIDI Transport - Enables Play, Stop to be received (On)/Off
Sync Transport Send MIDI Transport - Enables Play, Stop to be sent to external devices. On/(Off)
Sync Prog Ch Receive Allows pattern changes msg from an external device. On/(Off)
Sync Prog Ch Send Sends program change msg to external device from pattern changes On/(Off)
Port Config Turbo Speed Turbo speed mode for fast communication with compatible devices On/(Off)
Port Config Out Port Func Type of signal for MIDI output - (MIDI) : DIN24 : DIN48
Port Config Thru Port Func Type of signal for MIDI thru - (MIDI) : DIN24 : DIN48
Port Config Input From Selects source for midi data - DISABLED : MIDI : USB : (MIDI+USB)
Port Config Output To Selects destination for midi data - DISABLED : MIDI : USB : (MIDI+USB)
Port Config Output Ch Selects channel output for DATA ENTRY knobs - (AUTO CH) : TRK CH
Port Config Param Output Selects message type for DATA ENTRY controls - (CC) : NRPN
Port Config Encoder Dst Sends LEVEL+DATA ENTRY internal - (INT) or internal & external INT+EXT
Port Config Trig Key Dst Sends Trig Keys internal - (INT) or internal & external INT+EXT or external EXT
Port Config Mute Dst Sends Mutes internal - (INT) or internal & external INT+EXT or external EXT
Port Config Receive Notes Accepts control from an external keyboard when on. (On)/Off
Port Config Receive CC/NPN Accepts CC/NRPN to control Digitone parameters from an ext device. (On)/Off
Channels Track 1 Channel Dedicated channel used to send / receive parameter data for track. (1)-16 or off
Channels Track 2 Channel Dedicated channel used to send / receive parameter data for track. 1(2)-16 or off
Channels MIDI 1 Channel Dedicated channel used to send / receive parameter data for track. 1(5)-16 or off
Channels FX Control Ch Dedicated channel to send / receive MIDI data for del/rev fx params 1-(9)16, off
Channels Auto Channel Dedicated channel to send / receive MIDI data for the active track 1-(10)16, off
Channels Prog Chg In Ch MIDI chan listens to incoming program change msg 1-16, Auto (auto chan)
Channels Prog Chg Out Ch MIDI chan sends program change msg at pattern change 1-16, Auto (auto chan)
Channels Multi Map Ch MIDI chan receives MIDI messages for keyboard access to multi map mode (Off)
Defaults in brackets ()
All the settings are available in the GLOBAL

SETTINGS under MIDI CONFIG and the
associated sub menu.

Input & Output 12
12.3 USB Configuration
In addition to the MIDI Config options, USB also has some additional
system setup parameters that are required to operate with MIDI over USB.
▌SETTING USB OPTIONS
1. Press [SETTINGS] to select the global settings menu.
2. Highlight [SYSTEM] using (LEVEL/DATA) or [UP] [DOWN] to scroll the

menu options.
3. Press [YES] to select SYSTEM menu options.
4. Highlight [USB CONFIG] using (LEVEL/DATA) or [UP] [DOWN] to scroll

the menu options.
5. Press [YES] to select USB CONFIG menu options.
6. Use (LEVEL/DATA) or [UP] [DOWN] to scroll the menu options.
7. There are three checkable options that can be switched on or off for
each. Only one option can be selected in a ‘radio button’ style meaning
selecting one disables others automatically. Press [LEFT] or [RIGHT] to
toggle each option off (blank) or on (checked).
• OVERBRIDGE: Select this option when interfacing via USB to an

overbridge enabled device. This is a PC or Mac with Overbridge
plugin active.
• USB MIDI. Used when communicating between Digitone and other

MIDI compatible devices using the USB connection. This will allow
sending and receiving MIDI over the USB connection.
• USB AUDIO/ MIDI. Used when communicating between Digitone

and other class compliant devices using the USB connection. This
will allow sending and receiving MIDI and also sending and
receiving Audio over the USB connection.

12 Input & Output
12.4 Controlling External MIDI Devices from Digitone NOTES
Digitone is a self contained FM synth with 4 tracks of audio. In addition

there are 4 MIDI tracks that can be configured to control external devices
taking advantage of the powerful sequencing features contained within
Digitone. MIDI mode is selected pressing the [MIDI] button and the
parameter pages are then set to MIDI settings.
▌SELECTING & EDITING MIDI TRACKS
1. Press [MIDI] to select MIDI track mode. The MIDI button will be lit white.
2. Select a track to edit, Press [T1], [T2], [T3] or [T4].
3. The parameter pages will now operate in the context of MIDI mode.
These pages will reflect MIDI parameters.
4. Use trig keys to create a pattern. The sequence pattern trigs configured
will output MIDI messages to the set MIDI channels.
5. External equipment will be connected to the 5 Pin DIN output

connection or using the USB connection. Digitone supports MIDI over
both connections.

Input & Output 12
12.5 MIDI Tracks - TRIG Page
The TRIG page operates similar to the audio track trig page but with limited options. Access to MIDI
tracks and associated parameter pages is performed by pressing [MIDI] to enable MIDI track mode.
ON
on the step. Multiple notes note. Trig keys are not directly trig. Press & turn for stepped trigger step triggering. Record
offset from root can be added to velocity sensitive. values. Note Off is sent at the mode enables COND which
a step. end of LEN. sets logical rules for
C0(0) - G10(127) default C5(60) 0-127 - Default 100 0.125 -127,INF - Default 1/16 0-100% ,Default 100%
E F LFO.T G H
LFO Trigger. Sets whether the
LFO envelope is triggered or not.
ON, OFF - Default On

12 Input & Output
12.6 MIDI Tracks - SYN1, MIDI Source
The SYN1 (and SYN2) page when using MIDI Tracks allows the set up of the MIDI settings and
values, especially standard CC commands such as mod wheel. To activate a parameter press
[FUNC] + Press (DATA ENTRY). Inactivate parameters are shown with an X.
Press [FUNC] + (DATA ENTRY)

control to turn the function On / Off
ON
+ Press
SYN1 and SYN2 Pages show the
same parameter information.
A CHAN B BANK C SBNK D PROG
Select the MIDI channel that The message that will be sent Sends out the sub bank change Sends out the program change
this track will to send signals to. out for a bank change. message. message.
Off, 1 - 16 Off, 1 - 128 Off, 1 - 128 Off, 1 - 128
E PB F AT G MW H BC
Controls pitch bend value sent Controls the after touch value Controls the mod wheel value Controls the breath control
out on the track MIDI. sent out on the track MIDI. sent out on the track MIDI. value sent out on the track
MIDI.
Off, -128, +128 Off, 0 - 127 Off, 0 - 127 Off, 0 - 127
The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [SYN1]
key within the SYN1 pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [SYN1] + [PLAY] to reset all SYN1 page
parameters to defaults. Copy [SYN1] + [REC] and Paste [SYN1] + [STOP] also operate within and across the SYN1 pages

Input & Output 12
12.7 MIDI Tracks - FLTR Page, CC Values
The FLTR page sets the eight actual CC values that are subsequently selected with CC Select. To
activate a parameter press [FUNC] + Press (DATA ENTRY). Inactivate parameters are shown with
an X.

ON
+ Press
A VAL1 B VAL2 C VAL3 D VAL4
Value 1 is sent as the CC Value 2 is sent as the CC Value 3 is sent as the CC Value 4 is sent as the CC
output value and also based on output value and also based on output value and also based on output value and also based
the AMP page CC Sel 1. the AMP page CC Sel 2. the AMP page CC Sel 3. on the AMP page CC Sel 4.
Off, 1 - 127 Off, 1 - 127 Off, 1 - 127 Off, 1 - 127
E VAL5 F VAL6 G VAL7 H VAL8
Value 5 is sent as the CC Value 6 is sent as the CC Value 7 is sent as the CC Value 8 is sent as the CC
output value and also based on output value and also based on output value and also based on output value and also based on
the AMP page CC Sel 5. the AMP page CC Sel 6. the AMP page CC Sel 7. the AMP page CC Sel 8.
Off, 1 - 127 Off, 1 - 127 Off, 1 - 127 Off, 1 - 127
The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [FLTR]
key within the FLTR pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [FLTR] + [PLAY] to reset all FLTR page
parameters to defaults. Copy [FLTR] + [REC] and Paste [FLTR] + [STOP] also operate within and across the FLTR pages

12 Input & Output
12.8 MIDI Tracks - AMP Page, CC Select
The AMP page sets the eight CC Select commands that drive the values contained in the FLTR
Page. To activate a parameter press [FUNC] + Press (DATA ENTRY). Inactivate parameters are
shown with an X.

ON
+ Press
SYN1 and SYN2 Pages show the
same parameter information.
A SEL1 B SEL2 C SEL3 D SEL4
Selects a standard MIDI CC Selects a standard MIDI CC Selects a standard MIDI CC Selects a standard MIDI CC
message to control value 1 on message to control value 2 on message to control value 3 on message to control value 4 on
the FLTR Page the FLTR Page the FLTR Page the FLTR Page
E SEL5 F SEL6 G SEL7 H SEL8
Selects a standard MIDI CC Selects a standard MIDI CC Selects a standard MIDI CC Selects a standard MIDI CC
message to control value 5 on message to control value 6 on message to control value 7 on message to control value 8 on
the FLTR Page the FLTR Page the FLTR Page the FLTR Page
The current value of each parameter is displayed when the control is adjusted or all parameter settings can be displayed by holding [AMP] key
within the AMP pages. Press (DATA ENTRY) + [NO] to reset parameter to default. Press [AMP] + [PLAY] to reset all AMP page parameters to
defaults. Copy [AMP] + [REC] and Paste [AMP] + [STOP] also operate within and across the AMP pages

Input & Output 12
12.9 MIDI Track Output - CC Output Configuration
Example: Configuration for CC output with Bass Station II.
Novation Bass Station II

MIDI IN Novation Bass Station II
MIDI CHANNELS:
Channel 5
The MIDI Control Change parameter value
assigned to the Novation Bass Station II master
Defaults: MIDI CC 7 is Volume volume level. Others are available in the device
documentation.
0 - 127
Volume 100
Take care to match the resolution and the

parameter settings. For example Bass
Station II Filter Cutoff has a 0-255 scale and
operates over a LSB and MSB value which
would need assigning at Digitone and
‘calibration’ between devices.
A 100
MIDI OUT
MIDI Config 5 Pin MIDI 0 - 127
Elektron Digitone.
CC
5 #07
SYNC:
Clock Send = On 5 CHAN VAL1 SEL1
Transport Send = On SYN1 Page FLTR Page AMP Page
PORT CONFIG:
Selected MIDI Track settings
Out Port Function = MIDI
Output To = MIDI
The data entry control 1 on the selected MIDI
track will control volume on the Bass Station II.
CHANNELS: The trig notes also in the pattern will control the
Track 5 (MIDI) = Channel 5 Bass Station II.
(Priority set on SYN2 Page CHAN)
Elektron Digitone

12 Input & Output
Digitone to Digitakt
Example: Configuration for note pattern and CC output to control Digitakt.
Elektron Digitakt MIDI Config

MIDI IN
Track 1 of Digitakt (Kick) is controlled from the Elektron Digitakt

Digitone MIDI sequence pattern trigs for track 5
(MIDI track 1). The Digitakt transport and clock
SYNC:
are also controlled from the primary control
Clock Receive = On
device, the digitone.
Transport Receive = On
Digitakt’s filter cutoff is also controlled by the CC

PORT CONFIG:
control from Digitone.
Input From = MIDI or MIDI+USB
Receive Notes = On
Receive CC/NRPN = On
0 - 127
CHANNELS:
Track 1 = Channel 5
Cutoff 100
Defaults: MIDI CC 74 is Filter
Cutoff for Digitakt,
Take care to match the resolution and the

parameter settings between devices. For
example cutoff range is 0-127 as is the Value =
range, but some parameters may have
bipolar or different ranges.
A 100
MIDI OUT 0 - 127

5 Pin MIDI
CC
5 #74
Elektron Digitone.
CHAN VAL1 SEL1 SYNC:

5
SYN1 Page FLTR Page AMP Page Clock Send = On
Transport Send = On
Digitone has channel 5 set for MIDI. The start /
stop control is led by Digitone which also is the PORT CONFIG:
primary clock. Out Port Function = MIDI
Output To = MIDI or MIDI+USB
Digitakt’s filter cutoff is also controlled by the CC
control from Digitone. This is setup from the MIDI CHANNELS:
FLTR Page - Value and MIDI AMP Page - Select Track 5 (MIDI) = Channel 5
= CC74. The Data Entry control set (i.e. 1) will (Priority set on SYN2 Page CHAN)
manually control Digitakt’s filter cutoff.
Elektron Digitone

Input & Output 12
Digitone Loopback
Example: Controlling Digitone from its own MIDI Track.

WARNING: This method has its own risks and if incorrectly set may crash the Digitone. This example
is for illustration purposes only and users should only apply loopback at their own risk.
MIDI Config
Elektron Digitone
Elektron Digitone (MIDI Track 2) Elektron Digitone (Audio Track 2)
SYNC:
0 - 127
Clock Receive = On
PORT CONFIG: A 100 100 Cutoff
Input Port Func = MIDI

Out Port Func = MIDI
0 - 127
Input From = MIDI
Output To = MIDI
Receive CC/NRPN = On
Digitone’s filter cutoff is also controlled by its own
CC
2 #23
MIDI LFO. While this is a standard set up there
CHANNELS: are many other parameters in the tracks that
Default Settings i.e. aren't by default assignable directly from an LFO.
CHAN VAL1 SEL1
This method utilises and expands MIDI controls
SYN1 Page FLTR Page AMP Page for use in the audio tracks and also makes
Track 1 = Channel 1
...... program and bank changes possible too.
MIDI 4 = Channel 8
CC
Defaults: MIDI CC 23 is Filter VAL1
Cutoff for Digitone. Ensure Trigs are set on the steps for the audio
track and the MIDI track to operate as desired.
DEST
LFO Page
For this example a good starting point on MIDI
track is, Val1 = 25. The MIDI LFO SPD = 40,
MULT = BPM 32, DEP = 100, DEST = CC VAL1.
This is configured assigns the MIDI LFO to control
SEL1 CC #23 (Filter Cutoff) modulated using VAL1 The envelope cutoff will be animated on the
in MIDI track 2. Set VAL Manually to 0. display in line with modulation. VAL 1 may not
appear animated on the MIDI track.
MIDI OUT TO MIDI

IN
5 Pin MIDI

NOTES

13
MIDI Interfacing
Digitone’s interfacing options using MIDI can map mode is not exclusively a MIDI function it
help create a whole eco system which Digitone does benefit hugely from using a wider key-bed
can be one part of, or central to, the control range than the internal desktop Digitone trig
structure. MIDI can be communicated over USB keyboard. Multi map mode enables specific key
or traditional 5 Pin DIN style MIDI connections. ranges to be mapped to various functions from
Once the connections are setup the flexibility of basic playback of notes to pattern changes and
integration and number of creative options are control of external gear from the same
almost endless. Connecting Digitone between keyboard.Multi map is also a perfect feature in
hardware synths, MIDI controller, Digital Audio the Digitone Keys model. This is a powerful
Workstations (DAW) and even mobile tablets function but often overlooked. Please be
and phones is possible. The most common reminded that interfacing between devices can
configuration is simply controlling Digitone with be frustrating and also a risk and needs careful
an external keyboard which takes advantage of understanding of the configuration settings of all
features like pitch bend, velocity and other devices connected. Examples provided here
modulation options as well as accessing the full are for illustration purposes and as a guide so
note range from C0-G10 of Digitone. Multi map take time to understand your gear before
functionality also can take advantage of the key making connections and patching gear together.
ranges of connected keyboards. While multi

13 MIDI Interfacing
13.1 MIDI Messaging NOTES
MIDI Communicates by sending messages to each other. This protocol is

defined in the Musical Instrument Digital Interface (MIDI) general standards.
Some of the messages are standard while others are defined on a device
level.
There are several general types of messages. CC and NRPN are two types
that are very similar, both of which send messages over a selected MIDI
channel to control things like the note played, velocity of a note, also can
apply control changes to parameters such as filter cutoff. MIDI
configurations usually use one or the other of these types and its important
that communicating devices are matched in this aspect. The parameters
would need to have been made accessible from the device manufacturer
and knowledge of the MIDI implementation. Things like; what message
refers to what parameter, alignment of notes, parameter ranges vs
message values would need to be known.
These messages and parameters are defined for Digitone. Do not assume
that a manufacturer will apply the same MIDI configurations across its
range so always refer to the manufacturers configuration sheet to work with
MIDI integration.

MIDI Interfacing 13
13.2 Digitone MIDI CC Assignments 1/3
Function Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Miscellaneous Pattern Mute 1 104
Miscellaneous Sustain 64
Miscellaneous Sostenuto 66
Track Mute 94 1 101
Track Level 95 1 100
Trig Root 3 3 0
Trig Velocity 4 3 1
Trig Length 5 3 2
Trig Filter Trig 13 3 5
Trig LFO Trig 14 3 6
Trig Portamento Time 15 3 7
Trig Portamento On 16 3 8
Syn 1 - FM Algorithm 90 1 72
Syn 1 - FM Ratio C 91 1 73
Syn 1 - FM Ratio A 92 1 74
Syn 1 - FM Ratio B 16 48 1 75
Syn 1 - FM Harmonics 17 49 1 76
Syn 1 - FM Detune 18 50 1 77
Syn 1 - FM Feedback 19 51 1 78
Syn 1 - FM Mix 20 52 1 79
Syn 1 - FM Ratio C Offset 1 95
Syn 1 - FM Ratio A Offset 1 96
Syn 1 - FM Ratio B1 Offset 1 97
Syn 1 - FM Ratio B2 Offset 1 98
Syn 2 - FM Envelope A Attack 75 1 80
Syn 2 - FM Envelope A Decay 76 1 81
Syn 2 - FM Envelope A End 77 1 82
Syn 2 - FM Envelope A Level 78 1 83
Syn 2 - FM Envelope B Attack 79 1 84
Syn 2 - FM Envelope B Decay 80 1 85
Syn 2 - FM Envelope B End 81 1 86
Syn 2 - FM Envelope B Level 82 1 87
Syn 2 - FM A Delay 83 1 88
Syn 2 - FM A Trig 84 1 89
Syn 2 - FM A Envelope Reset 85 1 90
Syn 2 - FM B Delay 86 1 91
Syn 2 - FM B Trig 87 1 92
Syn 2 - FM B Envelope Reset 88 1 93
Syn 2 - FM Phase Reset 89 1 94

13 MIDI Interfacing
Filter Filter Frequency 23 55 1 20
Filter Resonance 24 56 1 21
Filter Filter Type 74 1 22
Filter Attack Time 70 1 16
Filter Decay Time 71 1 17
Filter Sustain Level 72 1 18
Filter Release Time 73 1 19
Filter Envelope Depth 25 57 1 23
Filter Base 26 58 1 24
Filter Width 27 59 1 25
Amp Attack Time 104 1 32
Amp Decay Time 105 1 33
Amp Sustain Level 106 1 34
Amp Release Time 107 1 35
Amp Overdrive 9 41 1 36
Amp Pan 10 42 1 37
Amp Volume 7 39 1 38
Amp Chorus Send 12 44 1 41
Amp Delay Send 13 45 1 40
Amp Reverb Send 14 46 1 39
Amp Amp Envelope Reset 102 1 42
Amp Volume 7 1 31
LFO 1 Speed 28 60 1 48
LFO 1 Multiplier 108 1 49
LFO 1 Filter In/Out 109 1 50
LFO 1 Destination 110 1 51
LFO 1 Waveform 111 1 52
LFO 1 Start Phase 112 1 53
LFO 1 Trig Mode 113 1 54
LFO 1 Depth 29 61 1 55
LFO 2 Speed 30 62 1 57
LFO 2 Multiplier 114 1 58
LFO 2 Filter In/Out 115 1 59
LFO 2 Destination 116 1 60
LFO 2 Waveform 117 1 61
LFO 2 Start Phase 118 1 62
LFO 2 Trig Mode 119 1 63
LFO 2 Depth 31 63 1 64

MIDI Interfacing 13
MIDI Track CC Val 1 70
FX Chorus Depth 3 35 2 0
FX Chorus Speed 9 41 2 1
FX Chorus High-Pass 70 2 2
FX Chorus Width 71 2 3
FX Chorus Delay Send 12 44 2 4
FX Chorus Reverb Send 13 45 2 5
FX Chorus Mix Volume 14 2 6
FX Delay Delay Time 15 47 2 10
FX Delay Ping Pong 16 48 2 11
FX Delay Stereo Width 17 49 2 12
FX Delay Feedback 18 50 2 13
FX Delay High Pass Filter 72 2 14
FX Delay Low Pass Filter 73 2 15
FX Delay Reverb Send 19 51 2 16
FX Delay Mix Volume 20 2 17
FX Reverb Pre-delay 21 53 2 20
FX Reverb Decay Time 74 2 21
FX Reverb Shelving Frequency 75 2 22
FX Reverb Shelving Gain 22 54 2 23
FX Reverb High Pass Filter 76 2 24
FX Reverb Low Pass Filter 77 2 25
FX Reverb Mix Volume 23 2 26
Master Input L Volume 24 56 2 30
Master Input R Volume 25 57 2 32
Master Pan Left 78 2 31
Master Pan Right 79 2 33
Master Chorus Send 26 58 2 34
Master Delay Send 27 59 2 35
Master Reverb Send 28 60 2 36
Master Master Overdrive 29 61 2 37
Master Pattern Volume 95 2 38

13 MIDI Interfacing
13.3 External MIDI Keyboard Input NOTES
An external MIDI controller can be connected to Digitone and used to play

chromatically.
Example: Arturia KeyStep
Digitone default MIDI channels are:-

Track 1 = Channel 1 MIDI IN
Track 2 = Channel 2
Track 3 = Channel 3
Track 5 = Channel 4
Connected with a standard 5
Port Config > Receive Notes = On Pin MIDI cable
Auto channel will play selected track
MIDI OUT
C6
Read as F3 - C6 by Digitone
-2 -1 +1 +2
0
C# D# F# G# A#
C D E F G A B C

MIDI Interfacing 13
NOTES
Connecting a MIDI keyboard is fairly simple. Digitone’s default settings are
usually acceptable for plugging in and playing using a MIDI keyboard. The
basic settings however do need to be set correctly. These are found in the
GLOBAL SETTINGS.
▌BASIC EXTERNAL MIDI KEYBOARD INPUT SETUP
This set up is ok to play-out manual notes between the keyboard, played on

the Digitone.
1. Connect a MIDI cable to the keyboard and to the Digitone MIDI in port.
Alternatively use a USB cable between the devices (ensure system has
USB Config set to USB MIDI).

the options.
4. Press [YES] to select MIDI CONFIG and reach the sub menu’s.
5. There are 2 of the 3 submenu’s to consider, Port Config and Channels.

Change setting options using [LEFT] or [RIGHT].
6. The basic port config settings are:-
• INPUT FROM = MIDI or MIDI + USB or USB depending on physical

connection.
• RECEIVE NOTES = On (Checked)
7. The basic channels settings are:-
• TRACK 1 CHANNEL = 1
8. Set the MIDI keyboard to a channel corresponding to the audio track to

play from the keyboard. Auto Channel will play currently selected track.
Some keyboards have note arrangements for the keyboard that do not match the exact notes of
Digitone. For example C5 on the external keyboard may represent C4 on Digitone. Check the note
configuration on your external keyboard.

13 MIDI Interfacing
NOTES
▌EXTERNAL MIDI CONTROLLER TRANSPORT / CLOCK INPUT SETUP
This set up is ok to play-out manual notes and start stop the transport
synchronised to the external device.
USB Config set to USB MIDI). Ensure basic keyboard settings for MIDI
are correct.

the options.
4. Press [YES] to select MIDI CONFIG and reach the sub menu’s.
5. There is 1 of the 3 submenu’s to consider which is sync. Change setting

options using [LEFT] or [RIGHT].
6. The basic sync settings required are:-
• CLOCK RECEIVE = On (Checked)
• TRANSPORT RECEIVE = On (Checked)
7. Set the MIDI controller to a channel corresponding to the audio track to

play. The controller start, stop will control Digitone’s transport. Also any
tempo changes on the external device will be synchronised on the
Digitone.

MIDI Interfacing 13
NOTES
▌AUTO ASSIGN OF TRACKS TO AN EXTERNAL MIDI KEYBOARD.
This set up automatically assigns the currently selected track on the Digitone
to the external MIDI keyboard / controller.
USB Config set to USB MIDI).

the options.
4. Press [YES] to select MIDI CONFIG and reach the submenus.
5. There is 1 of the 3 submenus to consider, Channels. Change setting

options using [LEFT] or [RIGHT].
6. The basic channel setting is:-
• AUTO CHANNEL = 10 (10 is default but can be set to any channel)
7. Set the MIDI keyboard to the same channel as auto channel. Changing
tracks on Digitone will retain control from the external MIDI keyboard.

13 MIDI Interfacing
13.4 MIDI Modulation NOTES
Some of the standard MIDI controls such as pitch bend, mod wheel etc
have a dedicated routing function. This allows up to four parameters within
Digitone to be configured and controlled by these defined inputs. This is
available in the SOUND SETUP Menu in the [FUNC] + [TRIG] Setup.
External MIDI Controller
Pitch Bend Mod Wheel Breath Ctrl Aftertouch Velocity
Routing MIDI in to pages SYN1, SYN2,

FLTR, AMP and LFO parameters.
+
Parameter
destination set
Setup page accessible under each
using data entry
MIDI function e.g. Mod Wheel.
(A) - (D)
Modulation depth
offset using data entry
(E) - (H)
Modulation input indicator from

MIDI function. Also simulated
with (LEVEL / DATA)
Data Entry controls used to set the MIDI routing

MIDI Interfacing 13
NOTES
Generic MIDI Input Routing - Destination Options

Meta None Off
LFO 1 SPD LFO Speed
LFO 1 MULT LFO Multiplier
LFO 1 FADE LFO Fade In/Out
LFO 1 WAV LFO Waveform
LFO 1 SPH LFO Start Phase
LFO 1 MODE LFO Trig Mode
LFO 1 DEP LFO Depth
LFO 2 SPD LFO Speed
LFO 2 MULT LFO Multiplier
LFO 2 FADE LFO Fade In/Out
LFO 2 WAV LFO Waveform
LFO 2 SPH LFO Start Phase
LFO 2 MODE LFO Trig Mode
LFO 2 DEP LFO Depth
SYN1 P1 ALGO FM Engine algorithm
SYN1 P1 Ratio C Operator C Ratio
SYN1 P1 Ratio A Operator A Ratio
SYN1 P1 Ratio B Operator B Ratio
SYN1 P1 HARM Harmonics
SYN1 P1 DTUN Detune
SYN1 P1 FDBK Operator Feedback
SYN1 P1 MIX X-Y Mix
SYN2 P1 ATK Envelope A Attack Stage
SYN2 P1 DEC Envelope A Decay Stage
SYN2 P1 END Envelope A End
SYN2 P1 LEV Envelope A Level
SYN2 P1 ATK Envelope B Attack Stage
SYN2 P1 DEC Envelope B Decay Stage
SYN2 P1 END Envelope B End
SYN2 P1 LEV Envelope B Level
SYN2 P2 ADEL Envelope A Start Delay
SYN2 P2 BDEL Envelope B Start Delay
SYN Pitch Pitch Operators All
SYN Pitch Pitch Operators A & B2

13 MIDI Interfacing
NOTES
Generic MIDI Input Routing - Destination Options

SYN2 P1 RATIO All Operators Ratio
SYN2 P1 LEV Envelope A & B Level
SYN2 P1 ATK Envelope A & B Attack Stage
SYN2 P1 DEC Envelope A & B Decay Stage
SYN2 P1 END Envelope A & B End
SYN2 P2 ADEL / BDEL Envelope A & B Start Delay
SYN1 P2 RATIO OFFSET C Operator C Ratio Offset
SYN1 P2 RATIO OFFSET A Operator A Ratio Offset
FLTR P1 FREQ Cut off Frequency Multi-Mode Filter
FLTR P1 RESO Filter Resonance Multi-Mode Filter
FLTR P1 ENV Envelope Depth Multi-Mode Filter
FLTR P1 ATK Attack Time - Envelope Multi-Mode Filter
FLTR P1 DEC Decay Time - Envelope Multi-Mode Filter
FLTR P1 SUS Sustain Level - Envelope Multi-Mode Filter
FLTR P1 REL Release Time - Envelope Multi-Mode Filter
FLTR P2 BASE Filter base frequency point
FLTR P2 WIDTH Filter width frequency range
AMP P1 ATK Attack Time - Envelope
AMP P1 DEC Decay Time - Envelope
AMP P1 SUS Sustain Level - Envelope
AMP P1 REL Release Time - Envelope
AMP P1 DRV Overdrive Amount
AMP P1 PAN Pan Value
AMP P1 VOL Volume Level
AMP P2 REV Reverb Send
AMP P2 DEL Delay Send
AMP P2 CHR Chorus Send

MIDI Interfacing 13
NOTES
▌ ASSIGNING PARAMETERS TO MIDI INPUTS
1. Connect a MIDI controller to the Digitone and ensure the channels and
configuration enables control to be received on the desired track.
2. Select the track to control [T1], [T2], [T3] or [T4]
3. Press [FUNC] + [TRIG] for the setup menu options.
4. Highlight one of the 5 generic MIDI input controls in the menu using
(LEVEL/DATA) or [UP] [DOWN] to scroll the options. Available options
are Pitch Bend, Mod Wheel, Breath Control, Aftertouch, Velocity.
5. Press [YES] to select the highlighted option. The MIDI config page will
appear.
6. There are 4 parameters that can be assigned per MIDI input control.
The destination is selected using the data entry controls (A) - (D). Press
[YES] or press the rotary to confirm selection.
7. Each parameter has a depth of modulation value to offset from the

original value. These are set using data entry controls (E) - (H).
8. The incoming MIDI level can be seen on the left ‘level’ symbol. The
(LEVEL/DATA) control can also simulate the incoming MIDI levels when
in the MIDI config page.

13 MIDI Interfacing
13.5 Multi Map Basics NOTES
Multi map allows notes or note ranges to be to be mapped to internally

trigger sounds, triggering MIDI notes and to trigger patterns. Multi map
mode is active when in the multi map menu or when MIDI channel for
external keyboard is set. While this function is not exclusively MIDI
orientated, its use for the internal trig keyboard is limited. It is particularly
useful for mapping external keyboard or Digitone Key keyboard splits and
triggers for sounds and patterns and in live environments. Each project can
store 8 multi map configurations. Multi map is located in the global settings
for Digitone, explained here and has a dedicated button in Digitone Keys.
External MIDI Controller Internal Keyboard
MIDI CONFIG > CHANNELS DEFAULT
MULTI MAP CH
To setup the channel for an external controller to The internal functions automatically access the
access the multi map function. multi map function if one is set up
Span 7 Semitones
2
1
Start G3
5
Digitone has a 128 key
range C0 - G10 which can
4 6 be multi mapped
C0 G10
3
ADD RANGE
Range 1
An individual key or a key range
can be assigned to a function. 5
4 6
Maximum 128 ranges.
3 1 2 3
Range 2
Additional ranges immediately
follow the prior range and the
same span pattern

MIDI Interfacing 13
NOTES
▌ CREATING THE FIRST MULTI MAP
2. Highlight [CONTROL] using (LEVEL/DATA) or [UP] [DOWN] to scroll

the options.
3. Press [YES] to select CONTROL.
4. Highlight the 1. MULTI MAP EDIT Option and press [YES] to select.
5. Highlight --- ADD RANGE --- and press [YES] to select. When setting
the first multi map range this will be the only available option.
6. The ADD RANGE pop up menu appears. This is only used when adding
new ranges.
1234567 Next range starts at the note

after where the prior range ends.
1234567
Last note which covers the

span of notes selected.
First note in the range when Number of ranges that will be

setting up and pressing [YES] set up when pressing [YES]
Function applied to the ranges

set when pressing [YES]
7. Turn data entry (E) to set the starting note of the range. This is the first
note of the first range created.
8. Turn data entry (G) to set the number of ranges to be configured during
this setup. The ranges will be setup consecutively so, for example, if
range 1 ends with C#4, range 2 will start at D4.
9. Turn data entry (F) to set the semitone span of the range. This is the
number of notes from the start note to cover with all ranges set when
pressing [YES]. Example range 1, span of 7 = G3, G#3, A3, A#3, B3,
C4, C#4. Last note is shown central top on the page.

13 MIDI Interfacing
NOTES
10. Press [LEFT] or [RIGHT] to highlight and select the function that will be
applied to the ranges.
• OFF. No function is applied. This creates a ‘blank’ range that doesn't

trigger any function. Often used to separate regions.
• PAT. Assigns a chosen pattern series to the note range defined.
• INT. Assigns a sound series from the sound pool or +Drive to the
defined note range.
• EXT. Assigns an external MIDI device to the defined note range.
11. Press [YES] to confirm and set the note range(s) defined.
▌ PLAYING THE TRIG KEYBOARD IN MULTI MAP MODE
Use of multi map mode with the internal trig keyboard is limited to only the
C0 - C1 note range on the trigs. The multi map range is therefore C0 - C1
only. This is fixed and keyboard transposition is not recognised in multi map
mode.

the options.
4. Highlight the 1. MULTI MAP EDIT Option and press [YES] to select. The
multi map must cover C0 - C1 range.
5. Play the trig keyboard. Multi mode is active only when in this menu.
6. Exit of the multi map menu, restores normal trig key operation.
The official manual states (in error) that when setting up a multi map, pressing and holding (E) and (F) and
pressing an externally connected keyboard note will set the ‘start’ and ‘span’ settings respectively. This
functionality is not implemented at the time of going to press on the OS version covered in this guide.

MIDI Interfacing 13
NOTES
▌ PLAYING A EXTERNAL KEYBOARD IN MULTI MAP MODE
This assumes a multi map has been set up to match the connected
keyboard ranges.

the options.
5. Play the external keyboard. The multi map ranges should apply as set
up while in the multi map menu and revert to normal when leaving the
menu.
6. Alternatively an external MIDI keyboard will be constantly in multi map

mode if it is communicating to Digitone on the multi map channel. This s
set by
• Press [SETTINGS] to select the GLOBAL SETTINGS.
• Highlight MIDI CONFIG using (LEVEL/DATA) or [UP] [DOWN] to

scroll the options.
• Press [YES] to select MIDI CONFIG
• Highlight CHANNELS using (LEVEL/DATA) or [UP] [DOWN] to scroll

the options.
• Press [YES] to select CHANNELS
• Highlight MULTI MAP CH using (LEVEL/DATA) or [UP] [DOWN] to

scroll the options.
• Use [LEFT] & [RIGHT] to change the channel. Set to the desired
channel for multi map control.
• Ensure the external keyboard communicates on the multi map

channel set. The keyboard will remain in multi map mode.

13 MIDI Interfacing
NOTES
Multi Map Example
G3 - C#4 D4 - G#4 A4 - E5 F5 - B5
Range 1 Range 2 Range 3 Range 4
INT INT OFF PAT

Notes assigned to internal sounds eg Percussion.
Creates a blank zone to separate sound triggers

Notes assigned to internal sounds eg Bass
Notes set trigger defined pattern changes

from pattern selection
Percussion: Pattern Change:
G Kick F D0
F# D1
G# Kick2 G D2
A Snare G# D3
A# Closed Hat A D4
B Open Hat A# D5
B D6
C Tom1
C# Tom2
A series of drum sounds can be set in the sound Pattern changes can be triggered from a range of
pool which then can be assigned from the base multi mapped notes. This would be a change
sound slot and incremental slots per note. relative to the main pattern set in the multi map
Velocity layering can also be applied if required. configuration.

MIDI Interfacing 13
NOTES
▌ ADDING ADDITIONAL MULTI MAP RANGES

the options.
5. Highlight --- ADD RANGE --- and press [YES] to select.
• If one or more ranges already exists, then they will appear listed in
order.
• Additional ranges can be added before (top of list) or after (bottom

of list) the existing ranges. The -------ADD RANGE ------- option will
appear top or bottom is slots are available.
• ADD BEFORE (upper in main menu) and ADD AFTER (lower in

main menu) are also available in the range operations menu. This is
accessible by pressing [RIGHT] in the main menu when selecting a
range.
6. The ADD RANGE pop up menu appears. This is only used when adding
new ranges.
7. Turn data entry (E) to set the starting note of the range. This is the first
note of the first range created. The setting will be limited by the other
range before or after. Ranges cannot overlap.
8. Turn data entry (G) to set the number of ranges to be configured during
this setup. The ranges will be setup consecutively so, for example, if
range 1 ends with C#4, range 2 will start at D4.
9. Turn data entry (F) to set the semitone span of the range. This is the
number of notes from the start note to cover with all ranges set when
pressing [YES]. Example range 1, span of 7 = G3, G#3, A3, A#3, B3,
C4, C#4. Last note is shown central top on the page.

13 MIDI Interfacing
NOTES
▌ DELETING ONE MULTI MAP RANGE

the options.
5. Highlight the ‘range’ to edit using [UP] or [DOWN] to scroll.
6. When a range is already set up the range operations menu us available.

This is indicated by the small right arrow.
7. Press [RIGHT] in the multi map main menu to open the range
operations sub-menu. Pressing [LEFT] returns to the main menu. Also
the (LEVEL/DATA) control toggles menu to submenu.
8. Highlight DELETE RANGE using [UP] or [DOWN] to scroll the options.

This will delete the range highlighted in step 5.
9. Press [YES] to select deletion. A confirmation box appears.
10. Press [YES] again to confirm deletion and return to main menu.

MIDI Interfacing 13
NOTES
▌ DELETING ALL MULTI MAP RANGES

the options.
5. Highlight any ‘range’ using [UP] or [DOWN] to scroll.

8. Highlight DELETE ALL using [UP] or [DOWN] to scroll the options. This
will delete all ranges that are setup.
9. Press [YES] to select deletion. A confirmation box appears.
10. Press [YES] again to confirm deletion and return to main menu.

13 MIDI Interfacing
13.6 Multi Map Advanced NOTES
Multi maps quick set up can be a simple process to get things going. Multi
Map editing of existing ranges can offer more advanced and detailed
settings and specifically enables the connection of patterns, tracks, sounds
using the multi map function.
▌ EDITING ADVANCED MULTI MAP SETTINGS

the options.
5. Highlight the ‘range’ to edit using [UP] or [DOWN] to scroll.

8. Highlight EDIT RANGE using [UP] or [DOWN] to scroll the options.
9. Press [YES] to select edit. This will open the full parameter set for the
range selected.
10. The settings can be edited using using [UP] or [DOWN] to highlight the
parameter and turn (LEVEL/DATA) or press [RIGHT], [LEFT] to change
its settings. The parameter list will vary depending on the function (off,
pat, int, ext) selected.

MIDI Interfacing 13
NOTES
OFF Function
The OFF function allows blank sections of the keyboard to be created. This
is useful for segregating and separating sections by creating a silent area of
the keyboard. An external MIDI keyboard is used for this example.
2 3
C4 - E4
Digitone Range 1 Range 2 Range 3

be multi mapped
OFF Sets a blank / silent ‘no play’ range of notes.
EDIT RANGE
Example Parameter Description

Sets the function option between off, internal
1 OFF FUNCTION
trig external trig and pattern play.
2 C4 RANGE LOW First / starting note included in the range
3 E4 RANGE HIGH Last / end note included in the range
Visibility of available parameters is dependant on the options selected. For example, selecting
FUNCTION = OFF only presents 3 options.

13 MIDI Interfacing
NOTES
INT.TRIG Function Overview
The INT.TRIG function configures sections of the keyboard to be created for

control of the internal tracks and sounds of Digitone. This also enables
sequential notes to control different sound elements. An external MIDI
keyboard is used for this example.
2 3
F3 - B3

be multi mapped
5 6
Sets a range of internal notes to a track. 4
INT
Sound 1
1 Sound 2 8
Option to set a range of notes to sounds. 7 Sound 3
......
Sound 128
EDIT RANGE

Sets the function option between off, internal trig
1 INT.TRIG FUNCTION external trig and pattern play.
2 F3 RANGE LOW First / starting note included in the range
3 B3 RANGE HIGH Last / end note included in the range
Selects track T1 - T4 this range will play. AUTO plays

4 T2 TRACK whichever track is selected and active.
Sets the note played on Digitone from the first note in

5 F3 NOTE the range. Can be same as range low or set as a
note offset.
Sets the subsequent note increment played on
Digitone from the notes played incrementally in the
6 1 NOTE INC range. 0 would play same note, 1 like for like, 2 would
increment in 2 semitones.
Sets the sound pool sound slot to play from the
7 1 SOUND SLOT range. Track sound is used if set OFF.
Sets the subsequent sound pool sound slot to play. 0
8 2 SND SLOT NOTE INC would play same sound each note, 1 plays
incremental sound, 2 would play every 2nd sound
Sets a sound pool sound slot to play based on
9 3 SND SLOT VEL INC velocity ranges. This allows layering of sounds.
Sets velocity behaviour. OFF sets velocity as
10 OFF FIXED VEL received from controller.Set 0-127 for a fixed velocity.
Visibility of available parameters is dependant on the options selected.

MIDI Interfacing 13
NOTES
INT.TRIG Function Sound and Velocity Control.
The multi map configuration can accommodate a unique sound assignment

from the sound pool instead of track assignment. Also velocity layering is
possible using sounds assigned to velocity ranges.
F3 - B3

be multi mapped
5
INT Sets a range of internal notes to a track. 4
7 Sound 1 F SOUND SLOT NOTE INC

The increment can be set so that each
SOUND SLOT
Sound 2 8 note in the multi map range will
increment the sound slots. 0 will play the
A sound pool slot can be assigned Sound 3 F# same slot for all note. 1 will increment 1
to the first note of the range slot per not increment. The example
Sound 4 here shows 2, which will increment
Sound 5 G every second step for each range note
......
Sound 128
FIXED VOL
Sets a fixed velocity or OFF.
Sound 3
9 2 F Sound 2
Sound 1
1 Velocity 127
SOUND SLOT VEL INC

Sounds slots can be layered to one note and velocity input used to trigger each sound. Sets the number of
slots across the velocity range of 1-127. A value of 0 sets the SOUND SLOT across the entire velocity
range. A value of 1 would create two sound slots evenly assigned across 1-63 & 64-127 velocity range.
Example shows 2, which creates 3 equal zones assigned to sounds within the sound pool sound slots.
This is good for percussion sounds for example using closed or open hats on one note, different kicks
across a range to emphasis the transients using different samples.

13 MIDI Interfacing
NOTES
EXT.TRIG Function
Configures sections of the keyboard to be created for control of external

MIDI devices. This example shows Bass Station II.
External MIDI Controller External MIDI Synth
MIDI Out
MIDI In e.g. Channel 1
2 3
6
F4 - B4 5
FIXED VOL
Sets a fixed velocity or OFF.
EXT
1 7
1 Velocity 127
EDIT RANGE

1 EXT.TRIG FUNCTION external trig and pattern play.
MIDI channel where the note messages are sent out

4 16 CHANNEL of Digitone.
Sets the note that will be triggered from the first note
5 F4 NOTE in the range played on Digitone. Can be same as
range low or set as a note offset.
Sets the subsequent note increment played on the
6 1 NOTE INC external device. Setting of 0 would play same note, 1
like for like notes, 2 would increment in 2 semitones.
Sets velocity behaviour. OFF sets natural velocity. Set
7 OFF FIXED VEL 0-127 for a fixed velocity.

MIDI Interfacing 13
NOTES
PAT.PLAY Function
The multi map configuration sets a specific pattern and increments from the
pattern to initiate pattern playback and changes using the multi map range
of notes that have been set up.
2 3
C5 - E5

be multi mapped
C A0 4
5 A1
C# A2 PAT
A3
1
D A4 Pattern A0 to H16 selected using the
...... note assigned in the multi map
H16
EDIT RANGE

1 EXT.TRIG FUNCTION external trig and pattern play.
Sets the pattern to play when the lowest note is

4 A0 PATTERN triggered. CURR setting will play the currently
selected pattern on Digitone.
Sets the increment level from the pattern position
when playing sequential notes in the multi map
5 2 PATTERN INC range. Set to 0 will play the same pattern irrespective
of note played. Set to 1 would increment each note to
+1 Pattern, 2 will select every 2nd pattern.

NOTES

14
Audio Input & Output
Audio from Digitone is made through the two, integration with other gear more than just MIDI
left and right balanced ‘Main Out’ ¼” jacks. interfacing. As well as the physical audio input
There is also a stereo headphone output, also connections Digitone is a class compliant device
¼” jack. For Digitone Keys each track has its which means it can transmit and receive MIDI
own dedicated audio outputs as well as the and audio across the USB connection. This is a
main outs. Digitone also has the ability to direct powerful feature when interfacing with digital
external audio through two ¼” input jacks. audio workstations and other gear. Overbridge
Audio input can be channelled to the Digitone also has more enhanced functionality working
outputs and also can be sent to the internal within a PC or Mac. Audio routing is managed in
effects of chorus, delay and reverb. The option the master page as well as configurable in the
to channel Digitone’s internal audio to the Digitone global settings. Considering there are 4
output is also possible as is track audio routing. synth tracks plus the 3 effects the options for
These options bring some expansive audio audio routing are both flexible and useful.
routing flexibility to Digitone and makes

14 Audio Input & Output
14.1 Audio Routing NOTES
Audio can be channelled through the Digitone effects and controlled in the
Master page. External audio can be combined with the internal Digitone
generated audio or the internal audio can be switched off.
External USB
Audio In Audio
Audio
Out
MAIN
Audio Out GLOBAL SETTINGS
SYSTEM > AUDIO ROUTING
USB TO MAIN
Adjusts the USB audio
Overdrive level for output in dB.
INT TO MAIN
Route to output on,
off or auto EXTERNAL
AUDIO
INTERNAL
AUDIO Stereo
ROUTE TO MAIN Level & Balance

Route selected Master P2
tracks to output * INLR & BAL
DUAL
or Option to operate and manage
1 T1 1 the audio routing and mixing as
stereo or dual mono.
Dual Mono
2 T2 2 Master P2
3 T3 3 Level & Pan Level & Pan

Master P2 Master P3
INL & LPAN INR & RPAN
4 T4 4
External audio sends
5 CHORUS 5 are summed to mono
DELAY
6 6
Chorus
chorus
Master P1/2
REVERB 7
CHR
Delay
delay
SEND TO FX Master P1/2

Route selected CHR
tracks, chorus and
delay effects
Reverb
reverb
Master P1/2
CHR
*
Tracks not routed to main output still are available as separate audio outputs in overbridge. In pattern audio routing, individual
tracks still have their own ‘track’ audio output unaffected even if it is not routed to ‘main’ output.

14.2 Internal Audio in Digitone - MASTER Page 1
Digitone has an internal mixer found within the MASTER pages which can mix the levels for all four
tracks plus control the overdrive distortion. Pattern volume control is also available from this page.
Press [FUNC] + [LFO] to cycle across the mixer pages. Page 1 is the Internal Mixer.
Internal Mixer
PVOL
Turn (LEVEL/DATA)
The pattern volume level overall

level. Same functionality as
MASTER VOLUME.
0 - 127
A MOVD B C TRK1 D TRK2
The audio output master The volume level for the synth The volume level for the synth
overdrive. Distortion at the end track 1 audio. track 2 audio.
of the audio output chain.
0 - 127 0 - 127
0 - 127
E F G TRK3 H TRK4
The volume level for the synth The volume level for the synth
track 3 audio. track 4 audio.
0 - 127 0 - 127
parameter. Press [FUNC] + [LFO] + [NO] to reset parameter page to last saved state. Randomise not available for the mixer parameters.

14.3 External Stereo Audio Inputs to Digitone - MASTER page 2
Digitone can take the two audio inputs and process it within its functions. The mixer parameters for
managing this is found in the MASTER Pages. Page 1 is the Internal Mixer and Page 2 is the stereo
mixer unless DUAL is set to On in which case Page 1 is the left channel of the dual mono input.
Stereo Mixer
DUAL
Turn (LEVEL/DATA)
When ON the inputs can be

managed independently as dual
mono. Inputs LR managed as
stereo when dual is OFF.
Illustration shown as OFF.
A INLR B C BAL D
Level control of the external The stereo left / right balance of
audio connected to the audio the external audio input.
input left and right channels.
L64 - CEN - R63
0 - 127
E CHR F DEL G REV H

The left / right external audio The left / right external audio The left / right external audio
input send to the chorus effect. input send to the delay effect. input send to the delay effect.
The L/R audio is summed to The L/R audio is summed to The L/R audio is summed to
mono for the effects. mono for the effects. mono for the effects.
0 - 127 0 - 127 0 - 127
parameter. Press [FUNC] + [LFO] + [NO] to reset parameter page to last saved state. Randomise not available for the mixer parameters. Audio
would need to be triggered for the effect send to be active after an inactive state , for example after loading a project or pressing [STOP] [STOP].

14.4 Dual Mono Audio Inputs to Digitone - MASTER page 2/3
The dual mono state is managed in the MASTER Page 2 using the DUAL option. When this is set to
On the external audio inputs are managed as independent ‘dual mono’ inputs as opposed to stereo
when OFF. The parameters are found in Master Page 2 for Left and Page 3 for Right.
Dual Mono Left Mixer
DUAL
Turn (LEVEL/DATA)
When ON the inputs can be

managed independently as dual
mono. Inputs LR managed as
stereo when dual is OFF.
Illustration shown as ON.
A IN L B C LPAN D
Level control of the external The left external audio input
audio connected to the audio panning control.
input left channel.
0 - 127 L64 - CEN - R63
E LCHR F LDEL G LREV H

The amount of left external The amount of left external The amount of left external
audio input sent to the chorus audio input sent to the delay audio input sent to the delay
effect. The audio is summed to effect. The audio is summed to effect. The audio is summed to
mono when sending to effects. mono when sending to effects. mono when sending to effects.
0 - 127 0 - 127 0 - 127

The dual mono right channel parameters are found on MASTER Page 3. This page is only available
if DUAL in Page 2 is set to ON otherwise if OFF Page 2 will operate in Stereo.
Dual Mono Right Mixer
A IN R B C RPAN D
Level control of the external The right external audio input
audio connected to the audio panning control.
input right channel.
0 - 127 L64 - CEN - R63
E RCHR F RDEL G RREV H

The amount of right external The amount of right external The amount of right external
audio input sent to the chorus audio input sent to the delay audio input sent to the delay
effect. The audio is summed to effect. The audio is summed to effect. The audio is summed to
mono when sending to effects. mono when sending to effects. mono when sending to effects.
0 - 127 0 - 127 0 - 127

NOTES
Dual Mono Practical Example
Dual Mono mode is particularly useful when integrating other gear and
where Digitone may be the central audio ‘mixer’. The ability to manage
effect sends independently offers significant audio control options and
assemble a complete configuration.
Left Channel Audio Right Channel Audio
Drums & Percussion Bass
UNO DRUM MOPHO

Drum synth connected to Mono synth connected to
Digitone’s Left input. Controllable Digitone’s Right input. Controllable
by MIDI or stand alone by MIDI or stand alone.
Lead / Melody
Level & Pan Level & Pan

Master P2 Master P3
INL & LPAN INR & RPAN
or
Sends Sends
delay
delay
Dual Mono
chorus
chorus
reverb
reverb
LEFT RIGHT

14.5 Global FX / Mix Settings NOTES
The option to set the mixer and effect parameters to be a globally applied is
possible in the SETTINGS menu. When set to ‘Global’ any parameter
changes and settings in the internal mixer, external mixer, chorus, delay,
reverb and overdrive will affect all patterns in the project and not just the
active pattern. This is useful especially playing live to avoid any ‘stepped
transitions’ when changing patterns. The default operation is that the
parameters are applied locally to the active pattern only.
▌SETTING FX/MIX BETWEEN GLOBAL / LOCAL
2. Highlight GLOBAL FX/MIX using (LEVEL/DATA) or [UP] [DOWN] to

scroll the options.
3. Press [YES] to select GLOBAL FX MIX and reach the sub menu.
4. Options can be scrolled by turning (LEVEL /DATA) or pressing [UP]

[DOWN] buttons to highlight the desired option.
5. The highlighted option can be toggled between global mode on /

checked and global off / unchecked by pressing [YES] or by turning any
of the data entry controls.
6. When checked on the functions parameters will be applied to all

patterns in the project and not just the active pattern.
7. Press [NO] to backup and exit the menu.

NOTES
14.6 Audio Routing Settings
▌ROUTING INTERNAL AUDIO TO OUTPUT AT GLOBAL LEVEL
This will explain how internal audio is routed within Digitone to the external
audio and headphone output. This is global across the entire Digitone.
2. Highlight [AUDIO ROUTING] using (LEVEL/DATA) or [UP] [DOWN] to

scroll the options.
3. Press [YES] to select AUDIO ROUTING and reach the sub menu’s.
4. Settings can be changed by using [LEFT] or [RIGHT].
5. Select and set INT TO MAIN to the desired state.
• ON. Internal audio from the 4 tracks is routed to the outputs.
• AUTO. Audio is not sent out when overbridge is available and / or

streaming audio.
• OFF. Internal audio is not set to the output. This is useful if using an
external insert effect via USB.

NOTES
▌ROUTING EXTERNAL USB AUDIO TO OUTPUT
This will explain how external audio is routed and and amplified within
Digitone to the external audio and headphone output when using
overbridge or a class compliant USB device (range 0dB to +18 dB)
1. USB Audio is in the global setting options. Press [SETTINGS] to select

the GLOBAL SETTINGS.

scroll the options.
3. Press [YES] to select AUDIO ROUTING and reach the sub menu’s.
4. Settings can be changed by using [LEFT] or [RIGHT].
5. Highlight to select USB TO MAIN by scrolling with [UP] [DOWN] or by

turning (LEVEL /DATA)
6. When USB TO MAIN is highlighted, Press [LEFT] [RIGHT] to set the

audio level from the USB audio input to the main output. The options
are in dB levels - 0dB, +6dB, +12dB, +18dB.
7. Audio mixer can be found under the MASTER options. This will be
dependant on the Dual mode, but typically Page 1 is Internal Mixer.
Page 2 is either stereo or if in dual mono mode Page 2 is mono left and
Page 3 is mono right.

NOTES
▌SELECTING TRACK ROUTING TO AUDIO OUTPUT
This will explain how tracks and effects can be selected to route audio to
the main and headphone output of Digitone.
1. Scroll and select ROUTE TO MAIN. This selects the track or effects that
will / will not be routed to the main output (via the overdrive).
2. The four track T1, T2, T3, T4 buttons, the SYN2 button, FLTR and AMP
button will illuminate. They will be green if audio is routed out from the
track / effect, red if audio is not routed out.
3. Press one of the four track T1, T2, T3, T4 buttons, the SYN2, FLTR
button and / or AMP button to toggle routing out on or off.
4. The menu option will display 7/7 if all tracks are routed out. This is
number of tracks routed (1st digit) vs total available tracks (2nd digit)
When in the ROUTE TO MAIN 7/7 or the SEND TO FX

6/6 menu options the buttons indicate routing status.
Chorus, Delay, Reverb all illuminated

showing available. Green indicates
audio is routed to main.
Green indicates audio is

routed to main.
Red indicates audio is not routed

to main output.
Tracks 1 - 4 all illuminated showing

available. Green indicates audio is
routed to main.

NOTES
▌SELECT ROUTING TO EFFECT SENDS
This will explain how tracks and effects can be selected to route audio to
the effect sends of Digitone.
1. Scroll and select SEND TO FX. This selects the track or effects that will
/ will not be routed to the send effects.
2. The four track T1, T2, T3, T4 buttons, the SYN2 button and FLTR button
will illuminate. They will be green if audio is routed to the effects from
the track, red if audio is not routed to the effects.
3. Press one of the four track T1, T2, T3, T4 buttons, the SYN2 button and
/ or FLTR button to toggle routing to send effects on or off.
4. The menu will display 6/6 if all tracks are routed to the effects. This is
number of tracks routed (1st digit) vs total available tracks (2nd digit)
When in the ROUTE TO MAIN 7/7 or the SEND TO FX

6/6 menu options the buttons indicate routing status.
Chorus and Delay both illuminated

showing available. Green indicates
audio is routed to main.
Green indicates audio is

routed to effects.
Red indicates audio is not

routed to effects
Tracks 1 - 4 all illuminated showing

available. Green indicates audio is
routed to effect sends.

NOTES
▌ROUTING INTERNAL AUDIO TO OUTPUT AT PATTERN LEVEL
This will explain how internal audio is routed within Digitone to the external
audio main and headphone output. Audio is still directed to the tracks own
output. This is as applied within individual patterns.
1. Press [SETTINGS] to open GLOBAL SETTINGS.
2. Highlight PATTERN using (LEVEL/DATA) or [UP] [DOWN] to scroll the

options.
3. Press [YES] to select the pattern menu.

scroll the options.
5. Press [YES] to select AUDIO ROUTING.
6. Set USE GLOBAL SETTINGS. Press [LEFT] [RIGHT] to select on or off.

When set to off the settings in the pattern audio routing are used. When
on the global audio routing settings are used.
7. Scroll and select ROUTE TO MAIN. This selects the track or effects that
will / will not be routed to the main output (via the overdrive). Track
output unaffected.
button and / or AMP button to toggle routing out on (green) or off (red).
The process applied is the same as global settings.
9. Scroll and select SEND TO FX. This selects the track or effects that will
/ will not be routed to the effects.
button and / or AMP button to toggle routing to effects on (green) or off
(red). The process applied is the same as global settings.

14.7 Using Digitone Audio In/Out with an iPad via USB
Example: iOS (with AUM and Fly Tape) as an insert audio effect via USB Audio
iPad System
USB
USB CONFIG
USB Audio/MIDI = On
iOS App, Kymatica AUM enables audio and MIDI to be
managed inside the iPad with interconnection of
instruments and effects. MSXII Sound Design app, Fly
Tape is used as the actual insert effect which affects the
audio routed through.
USB
Audio Routing
1: Elektron Digitone L+R
Int to Main = Off

USB to Main (dB) 0 (maybe try +6)
Elektron Digitone
MIDI Config
SYNC:
USB Clock Receive = On

Transport Receive = On
PORT CONFIG:
Input From = USB or MIDI+USB

Receive Notes = On
Audio is communicated over USB. The Receive CC/NRPN = On
internal audio main out is turned off so
that internal audio only is only sent out on
USB. The return audio received back in is
then passed to the Digitone audio outputs.
Digitone OS 1.30a used for

examples,
AUM Configuration and Connectivity
AUM is an app that hosts plug ins and connects internal and external MIDI and Audio. MSXII
Sound Design’s Fly Tape is a AUv3 Plug In (iOS app) that is a tape emulation effect.
Channeling Digitone audio is possible across USB into the iPad and into the AUM audio track
input, through Fly Tape (Hosted in AUM App environment as an audio effect) and back across
USB to the Digitone output. This uses the Fly Tape as an insert effect for the Digitone L+R
audio.
A compatible USB cable is required to interface the iPad and Digitone.

NOTES
Apple iPad to Digitone 1.30a audio routing.

AUM and MSXII Sound Design Fly Tape as an insert effect
MSXII Fly Tape Digitone AUM

As the plug in effect in the Audio Input from Digitone As the host Audio / MIDI
audio chain Mixer and hub.
USB
Audio Channel
USB
Compatible device i.e.

iPad / iPhone
Digitone
Audio Output to Digitone Out.
Fly Tape
Insert effect can manipulate,
control and affect the audio from
Digitone as an insert effect.

NOTES

15
System
This section covers the less creative side of manufacturers current documentation, manuals,
Digitone and captures some housekeeping release notes that are compatible instructions for
functions and system orientated features. the OS and device and the task in hand. The
These include actions such as OS updates. As Elektron website is the place to start for the latest
such the global settings SYSTEM menu is a updates for Digitone where all support
key focus area for this section along with the documentation can be found. Also remember that
boot menu start up function which also some functions such as +Drive formatting are a
provides some system options. The guides destructive processes and may mean important
given in this section are not everyday or files and data will be deleted during the process.
frequently used features. It is therefore good to It is always recommended to back up Digitone
have a reference and access to a guide on periodically but certainly prior to undertaking any
these less familiar areas of Digitone. The of the functions laid out in this section. Finally a
functions covered here are very important and quick reference cheat sheet capturing key
it is always advised to check the original combinations is provided.

15 System
15.1 System Menu NOTES
The system options are found in the GLOBAL SETTINGS, accessed by

pressing the [SETTINGS] button. The SYSTEM submenu then is where
these options can be found.
USB CONFIG
Switches between the USB Overbridge mode, USB MIDI Only or AUDIO / MIDI
USB mode. Ensure Overbridge setting is only set when interfacing to overbridge
LED INTENSITY
Sets the user preference of brightness of the screen and buttons. The setting
can be changed between - Low, Mid, Max. Setting is shown in the menu name.
REMEMBER SUBPAGE
When set to ON the last sub page accessed will be presented when returning to
the page. Setting to OFF will always show the main page each time the page is
accessed. Press [YES] to toggle on or off when highlighting the menu option.
OS UPGRADE
Switches to listening for a Sysex transfer of the new OS. Transfer utility can be
used to drag/drop the new OS across from PC/Mac to Digitone via the USB
connection.
FORMAT +DRIVE
Erases and formats the non volatile sound storage drive contained within
Digitone. Enables selection of projects and sounds.
MASTER TUNE
Default master tuning for Digitone is 440 Hz, Middle A. This can be changed
here if an alternate musical tuning is required.
Some features within the SYSTEM sub-menu can be destructive and care must be taken to not lose
data and audio. Back up the Digitone device before undertaking the steps in these processes.

System 15
NOTES 15.2 OS Upgrade
Occasionally The Digitone may need an operating system update to either
fix bugs on prior OS versions or to add new or enhanced features. The
process requires the transfer of the new OS Sysex file which will then run
an update script within the Digitone automatically.
▌UPGRADING DIGITONE OS FROM SYSTEM MENU
It is recommended to connect Digitone by USB to a PC/ MAC which hosts

TRANSFER. Download and make ready the new OS firmware.
1. Press [SETTINGS] to open the GLOBAL SETTINGS Menu.
2. Highlight SYSTEM page by scrolling with (LEVEL/DATA) or [UP],

[DOWN].
3. Press [YES] to select SYSTEM and reach the sub menu.
4. Highlight OS UPGRADE and press [YES] to select.
5. This will switch to Sysex listening mode and await transfer from the PC/
MAC. Press [NO] to cancel and backup to submenu.
6. Ensure TRANSFER utility is open on the connected PC / MAC and is

indicated on the ‘connections’ page that the Digitone is set for MIDI
Input and Output communications.
7. On the transfer drop page, drag and drop the new OS Sysex file to the
transfer ‘Drop’ box in TRANSFER.
8. Digitone will indicate transfer status and issue prompts, then install and
reboot the new OS.
9. Press [YES] to confirm update.
10. The message ‘BOOTSTRAP UPGRADE COMPLETE, PLEASE

REBOOT ME’ is displayed. Power off and on to restart Digitone.
TRANSFER
New OS Sysex file is dragged to the
TRANSFER utility ‘Drop’ window and is
automatically transferred to Digitone when in
sysex listen mode.
DO NOT POWER OFF DIGITONE DURING THE UPDATE UNTIL DIGITONE NOTIFIES THAT THE REBOOT IS COMPLETE

15 System
NOTES
▌UPGRADING DIGITONE OS FROM STARTUP MENU
1. Ensure Digitone is switched OFF.
2. Connect Digitone using MIDI IN or USB to a PC/ MAC and TRANSFER.

Do not use USB connection.
3. Hold [FUNC] and power ON Digitone.
4. Digitone will start up in the BOOT MENU.
5. Press TRIG [4] key for OS UPGRADE.
6. With Digitone in ‘ready to receive’ Sysex listening mode, open

TRANSFER Utility on the PC/MAC.
7. In the TRANSFER Utility, open the ‘CONNECTIONS’ Page.
8. Click LEGACY OS UPGRADE.
9. Browse to the OS file to transfer.
10. Select the MIDI interface connected to Digitone.
11. In the TRANSFER Utility press. UPGRADE.
12. Progress bar will show transfer progress and when complete Digitone
will update automatically and re-boot.
Do not power off Digitone during the transfer or reboot process until the
update reboot process is completed.
Elektron recommend the TM-1 MIDI Interface when using MIDI transfers to a PC/MAC
▌CHECKING DIGITONE CURRENT OS
1. Power ON Digitone.
2. During the boot screen graphic the currently installed OS is displayed

for a short period bottom right on the start up screen.

System 15
NOTES 15.3 Formatting and Checking the +Drive storage
Digitone’s non-volatile +Drive can be erased using the format utility. This is
a destructive process and backups should be made prior to proceeding.
▌FORMATTING & ERASING DIGITONE +DRIVE

[DOWN].
4. Highlight FORMAT +DRIVE with (LEVEL/DATA) or [UP], [DOWN].
5. Press [YES] to select the format option.
6. Check the PATTERNS + SOUNDS to erase. Set using [RIGHT] [LEFT]

to check the selection and [UP] [DOWN] to scroll the options.
7. Highlight ERASE SELECTED DATA with (LEVEL/DATA) or [UP],

[DOWN].
8. Press [YES] to select the format option.
9. Press [YES] again to confirm formatting.

15 System
15.4 LED Intensity NOTES
The Digitone has an option to change the brightness of the GUI display and
also the front panel button LED’s. This is set in the system menu. This is a
useful feature to set options when playing live in a dark club or when video
recording Digitone’s interface.
▌CHANGING THE GUI BRIGHTNESS
2. Highlight the SYSTEM page by scrolling with (LEVEL/DATA) or the

[UP], [DOWN] buttons.
4. Highlight LED INTENSITY with (LEVEL/DATA) or [UP], [DOWN].
5. Press [LEFT] or [RIGHT] to to select one of the three brightness

options. The setting can be changed to LOW, MID, MAX. The setting is
showing in the menu option i.e. ‘LED INTENSITY MID’.
6. The setting will affect both the display brightness and also the button
LED’s.
7. Press [NO] to backup and exit the system menu.

System 15
NOTES 15.5 Parameter Page Default Navigation Behaviour
Digitone’s normal behaviour is to always default to the main page each time
a parameter page is selected. This can be changed in the system menu.
The option to retain the previously selected subpage when navigating
between pages is possible.
▌REMEMBER SUBPAGE

[DOWN].
4. Highlight REMEMBER SUBPAGE with (LEVEL/DATA) or [UP], [DOWN].
5. With the option highlighted, Press [YES] to select the option on /

checked or to off / unchecked.
6. When set to ON the last sub page accessed will be presented when
returning to the page. Setting OFF will always show the main page each
time the page is accessed.
7. Press [NO] to backup and exit the system menu.

15 System
15.6 Start Up Boot Menu NOTES
Hidden functions which operate in the Digitone Boot system prior to start up
of the main Digitone OS are available at power up. Hold [FUNC] while
powering up Digitone to access the startup boot menu. Select the menu
options using the respective red lit Trig [1], [2], [3], [4] or [5] key for the
selected menu option.
STARTUP MENU
1 … TEST MODE
2 … EMPTY RESET
3 … FACTORY RESET
4 … OS UPGRADE
5 … EXIT
TEST MODE
Delivers an audio signal to all outputs and runs a diagnostic test. When complete a
test report is issued and should read 0 ERRORS if all is ok. Contact Elektron if there
are system problems indicated. Key Tests will test all the manual operation of key and
encoder actions and show the status on the display.
EMPTY RESET
2 Erases all patterns and sounds from Digitone but retains all +Drive data.
FACTORY RESET
3 Initialise Digitone RAM to its original state by overwriting pattern and settings data and
by restoring the original preset sounds, patterns and settings to +Drive project slot 1
and Sound Bank A & B. Active project stored on the +Drive in slots 2+ will be retained.
OS UPGRADE
4 This option allows OS upgrades using Sysex transfer using MIDI IN.
EXIT
5 To EXIT the Boot menu and continue through the startup boot process and start up the
Digitone OS normally.

System 15
NOTES 15.7 Factory Reset
Digitone can be reset to its initial factory settings. This is performed in the
start up boot menu.
▌PERFORMING A FACTORY RESET
1. Ensure the Digitone is powered off.
2. Hold [FUNC] button.
3. While [FUNC] is held power on Digitone. The Boot menu will appear.
4. Press Trig [3] button - Factory Reset.
5. Digitone will be reset to its initial factory settings.

15 System
15.8 Overbridge NOTES
Overbridge 2.0 is a complimentary utility to the Digitone armoury.

Overbridge is a software interface that enables Digitone and other Elektron
devices to operate within a DAW environment, with multiple outputs and
also control Digitone from within the PC/MAC software environment and
vice versa.
Digitone PC / MAC
Can be controlled by the Overbridge Overbridge 2.0 operates as a

App / VST. Digitone can be controlled stand alone or a DAW VST
from the DAW and Stand Alone integrated device within the PC /
Overbridge Interface. Mac environment.
Features include:-
Total Recall: Syncs the DAW saved project and parameter settings in
the PC/MAC to the Digitone device.
Stream multi tracks of audio into the PC/MAC environment via USB and
can be recorded individually or collectively in the DAW.
Digitone also acts as a 2 In/2 Out Sound card.
Manage presets, samples, kits and projects.

System 15
NOTES 15.9 Sysex Applications
If there is a function lacking in the direct support of Digitone it is backup and
restoration support. Transfer app currently supports OS upgrade but not
sysex pattern, project or sound transfers between PC/Mac and Digitone.
The original Elektron Sysex Utility, C6 has also grown obsolete. There are a
number of 3rd party sysex tools that can be used with Digitone to transfer
sysex files. These examples do not vouch for any 3rd part app compatibility
nor do they serve as a recommendation for use with Digitone. These
examples give an illustration of using Sysex. A couple of apps to note are
Snoize SYSEX Librarian for Mac (Shown here) and MIDI OX for PC.
With Digitone set as destination, play to send a file, record to

receive one or all. Files received are not named automatically.
SETTINGS > SYSEX DUMP

15 System
15.10 Backing Up Projects in Transfer NOTES
Transfer is a utility for Mac and PC downloadable from Elektron. Digitone’s

projects can be backed up and restored between a connected PC or Mac
using the Transfer utility.
Digitone is ideally connected to a PC / Mac

using the USB connection
Files are stored as ‘name.dnprj’ format in the

designated PC/Mac directory folder.
USB
Digitone
The MIDI Settings on the Digitone must be set

to operate with the MIDI USB connection.

System 15
NOTES
▌BACKING UP PROJECTS
1. Connect Digitone to a PC/Mac that hosts the Transfer utility. Use the
USB connection and ensure the settings are correct on Digitone.
2. In Transfer, the Digitone should be recognised. Select connect to

establish communication between the device and PC/Mac.
3. In Transfer, open the ‘EXPLORE’ tab. Digitone projects should be

displayed in the right side window.
4. In the left side window, select the PC/Mac folder location for backing up
the projects.
5. Select and drag the projects from the left window to the right. A
‘name.dnprj’ file will be copied for each project.
6. The progress bar and status will be displayed at the bottom of the page
as the files are copied and backup is completed.
Transfer
The Transfer explore tab is used with
the Digitone and PC/Mac browser
windows for transferring files.
Digitone files shown in the right

The chosen PC/Mac folder is shown on Drag & Drop from Digitone window. Some factory presets may be
the right side and the folder files listed. to the PC/Mac folder. write protected.
Transfer progress is shown when

copying files from or to Digitone.

15 System
15.11 Digitone Key Combo Quick Reference (1/4)
Function / Mode Action Key Combo Description
General Copy [FUNC] + [REC] Copies depending on the function selected
General Clear [FUNC] + [PLAY] Clears depending on the function selected.
General Paste [FUNC] + [STOP] Pastes depending on the function selected.
General Parameter Reset (DATA ENTRY) + [NO] Resets the parameter to default value.
General Param Page Reset Parameter Page + [PLAY] Resets all selected param page data to defaults.
General Param Randomise Parameter Page + [YES] Randomises selected parameter page settings
General Restore saved state Parameter Page + [NO] Resets parameters to last saved state
Save / Reload Save Project [FUNC] + [SETTINGS] Func + Global Setting saves active project.
Save / Reload Save Pattern [FUNC] + [YES] Temporarily Saves active pattern
Save / Reload Save Project [FUNC] + [NO] Reloads active pattern from temp save
Save / Reload Save Project Parameter Page + [NO] Reloads defaults for selected page
Navigation Step / Scroll Up [UP] Moves through various menu options
Navigation Step / Scroll Down [DOWN] Moves through various menu options
Navigation Step / Scroll Down [FUNC] + [UP] [DOWN] Navigate 1 page up / down in a menu list
Navigation Step / Scroll Left [LEFT] Moves through submenus or toggles a selection
Navigation Step / Scroll Right [RIGHT] Moves through submenus or toggles a selection
Navigation Scroll (LEVEL / DATA) Scrolls when in a menu the options
Navigation Backup [NO] Cancels and / or backs out of submenus
Navigation Confirm [YES] Activates selected menu option
Naming Select Letter [FUNC] + [ARROW] Left, Right, Up, Down, selects character
Naming Erases Letter [FUNC] + [NO] Deletes character
Naming Inserts a Letter [FUNC] + [YES] Inserts a letter or space
Naming Selects Character [RIGHT] [LEFT] Navigates back and forth through name
Naming Change Character [UP] [DOWN] Increments, decrements selected character
Transport Play [PLAY] Plays the sequence pattern
Transport Stop [STOP] Stops the sequencer pattern playback

System 15
Menus Import / Export [FUNC] + [SONG] Opens Import / export menu for sounds.
Menus Sound Setup [FUNC] + [TRIG] Opens the sound setup options
Menus Chorus FX [FUNC] + [SYN2] Opens the Chorus settings page
Menus Delay FX [FUNC] + [FLTR] Opens the Delay settings page
Menus Reverb FX [FUNC] + [AMP] Opens the Reverb settings page
Menus MIDI Setup [FUNC] + [MIDI] Opens the MIDI settings
Menus Master Mixer [FUNC] + [LFO] Opens the master settings
Menus Metronome [FUNC] + [PTN] Opens Metronome Menu, quick press
Menus Scale [FUNC] + [PAGE] Opens the Scale Menu and page settings
Tracks / Patterns Select Synth Track [T1], [T2], T3] or [T4] Selects a synth track 1-4.
Tracks / Patterns Select MIDI Track [MIDI] & Track Selects a MIDI track 5-8.
Tracks / Patterns Select Bank [BANK] + Trig [9] … [16] Selects Bank
Tracks / Patterns Select Pattern [PTN] + Trig [1] … [16] Selects a Pattern 1-16
Tracks / Patterns Clear Track [FUNC] + [PLAY] Clears Active Track (GRID REC)
Tracks / Patterns Clear Pattern [FUNC] + [PLAY] Clears Active Ptn (LIVE REC or No Mode Sel)
Tracks / Patterns Mute Track [FUNC] + [T1] … [T4] Enters Mutes selected track
Tracks / Patterns Mute Mode [FUNC] + [BANK] Enters MUTE Mode
Tracks / Patterns Global / Ptn Mute [FUNC] + [BANK] [BANK] Toggle PATTERN MUTE & GLOBAL MUTE Mode
Tracks / Patterns Fill 1 Cycle [YES] + [PAGE] Creates a Fill for one pattern cycle
Tracks / Patterns Fill [PAGE] Creates a Fill for duration of key press
Tracks / Patterns Fill Latch [PAGE] + [YES] Hold and release PAGE first. Latches Fill mode
Tracks / Patterns Fill Unlatch [PAGE] Latched Fill mode is unlatched
Tracks / Patterns MIDI Feedback [STOP] [STOP] Panic stop MIDI feedback issues
Sounds Restore [T1] … [T4] + [NO] Reloads last saved sound
Sounds Unison [FUNC] + [VOICE] Toggles Unison mode on/off
Sounds Preview [FUNC] + [YES] Previews sound in sound manager / sound browser
Sounds Page Parameter Page Opens first page and cycles page 1 & 2.
Sounds Secondary Page [FUNC] + ParamPage Opens secondary function (named under button)
Sounds Control All [MIDI] + Parameter Change a parameter on all tracks at the same time

15 System
Sequencer Tap Tempo [FUNC] + [TEMPO] Tap x4 or more to select a tap tempo
Sequencer Nudge Tempo [LEFT] [RIGHT] Temporary Nudge tempo playback +/-10%
Sequencer Nudge Trigs [FUNC] + [LEFT] [RIGHT] Nudge trigs whole step back or forth (GRID REC)
Sequencer Retrig Menu Trig + [UP] [DOWN] Open Retrig menu & sets on/off/rate (GRID REC)
Sequencer Micro-timing Menu Trig + [LEFT] [RIGHT] Open Micro Timing menu (GRID REC)
Sequencer Retrig Menu [FUNC] + [UP] [DOWN] Track length increment (In Scale Menu)
Sequencer Grid Recording [REC] Selects Grid Recording Mode
Sequencer Grid Recording Trig + [UP] [DOWN] Note selection display
Sequencer Note Preview Trig + [YES] Preview note / parameter lock in grid rec mode
Sequencer Live Recording [REC] + [PLAY] Starts Live Recording Mode
Sequencer Live Recording [REC] + [PLAY] + [PLAY] Starts Live Recording Mode - Quantized On/Off
Sequencer Step Recording [REC] + [STOP] Step recording mode select.
Sequencer Step Rec Mode [REC] + [STOP] [STOP] Step recording, toggles standard or jump mode
Sequencer Clears Live Rec [NO] + [T1] … [T4] Clears Trigs during Live Recording sequence
Sequencer Metronome [FUNC] + [PTN] Hold Long press. Sets Metronome On/Off
Sequencer Add Trig Locks [FUNC] + Trig [1] - [16] Add lock trigs in Grid Recording mode.
Song Song Mode Menu [SONG] Open the Song Mode pop-up menu.
Song Song Mode On/Off [YES] Song mode on or off, set in the song mode menu.
Song Settings Menu [SONG] + [UP] Song settings. Rename, Clear, Save & Load
Song Load Song [DOWN] Load a song, select in the song mode menu.
Song Song Row Loop [LEFT] Loop the row, select in the song mode menu.
Song Song Editor [RIGHT] Select in the song mode menu when set to on.
Song Navigate Params [LEFT] [RIGHT] Navigate across parameters in song editor.
Song Navigate Rows [UP] [DOWN] Navigate through rows in song editor.
Song Add row [FUNC] + [DOWN] Add row in song editor
Song Delete row [FUNC] + [UP] Delete current row in song editor
Song Select Pattern (LEVEL/DATA) Select on a pattern column. Song editor option.
Song Select Bank Pattern [FUNC] + (LEVEL/DATA) Select on a pattern column. Song editor option.

NOTES

Song Copy Row [FUNC] + [REC] Copy current row. Song editor option.
Song Paste Row [FUNC] + [STOP] Paste to current row. Song editor option.
Song Clear Row [FUNC] + [PLAY] Clear current row to defaults. Song editor option.
Song Move Playhead [YES] on a row number Select a row number, set in the song mode menu.
Song Play Song [PLAY] Song mode ON, plays song
Song Pause Song [STOP] Song playing, pauses at current row
Song Stop & Reset [STOP] [STOP] Reset song to start
Song Mute Menu [YES] Select mute row, press yes to open mute menu
Song Mute / Unmute [T1] [T2] [T3] [T4] Mute / Unmute in the song mute menu
Song Tempo [TEMPO] Opens tempo menu when in song editor
Arpeggiator Arp Options [FUNC] + [SYN1] Opens the Arpeggiator menu settings page
Arpeggiator Arp Options [FUNC] + [SYN1] Opens the Arpeggiator menu settings page
Arpeggiator Arp On / Off [FUNC] + [TRACK NOTE] Turns Arpeggiator on or off.
Keyboard Mode: Available Scales
• Chromatic • Blues • Super Locrian
• Ionian (Major) • Combo Minor • Dorian b2
• Dorian • Persian • Lydian Augmented
• Phrygian • Iwato • Lydian Dominant
• Lydian • In-Sen • Double Harmonic Major
• Mixolydian • Hirajoshi • Lydian #2 #6
• Aeolian (Minor) • Pelog • Ultraphrygian
• Locrian • Phrygian Dominant • Hungarian Minor
• Pentatonic Minor • Whole-Half Diminished • Oriental
• Pentatonic Major • Half-Whole Diminished • Ionian #2 #5
• Melodic Minor • Spanish • Locrian bb3 bb7
• Whole Tone • Major Locrian

NOTES

16
Technique
People will use Digitone in different ways, configurations and also audio preset design.
adopting personal workflows and finding a fit These examples can be used in your own way
into the studio setup either alone or alongside and to help learn more about using Digitone. This
other gear. Whether just creating sound section helps get started when integrating
designs, using it for full arrangements and Digitone into a wider system with other gear,
productions or as part of a wider system. In digital audio workstations and even iOS Apps.
using Digitone it’s always good to learn and Find some tips and tricks along the way to get the
share techniques in how it can be used which best out of using Digitone in real world scenarios
may trigger ideas and inspire creative thinking. and help develop some new ideas and new
This section captures a series of examples and thinking.
user cases both in terms of hardware

16 Technique
16.1 USB with Logic Pro X NOTES
Logic Pro examples are shown to illustrate the range of options USB MIDI
and Audio provides. These are examples only and used for illustration
purposes as other methods may be applied. Hardware and software
versions may vary and evolve and the exact functionality may change.
Logic Pro X 10.5.1 to Digitone
Connectivity
A Logic audio track can be set up to receive the Digitone audio in via USB. Individual ‘External
MIDI Instrument’ tracks can be set, for example one logic track to each Digitone track. Individual
control of Digitone sounds is then possible. Audio from the Digitone USB will be available in the
Logic MIDI Instrument plug in or audio track as a stereo 1-2 pair or 1 or 2 inputs in the audio track.
Mac / Macbook’s typically have either a USB Type A or Type C connection. A compatible cable is
needed for connection to the Digitone USB - Type B connector. Digitone is supplied with a Type A
to Type B Cable.
SETTINGS
Digitone Config Parameter Setting Description

System > USB Config USB Audio / MIDI ON Enable MIDI and Audio over USB to Logic.
If the Digitone sequencer and tempo is to
MIDI Config > Sync Clock Receive ON
be synchronised from Logic
If the sequencer and tempo is to be
MIDI Config > Sync Clock Send ON
synchronised in Logic from Digitone
MIDI Config > Sync Transport Receive ON Stop, Start control of Digitone from Logic
MIDI Config > Sync Transport Send ON Stop, Start control of Logic from Digitone
Internal Digitone audio not routed to main
System > Audio Routing Int to Main OFF output. Set ON if the internal audio is
required to be output.
Sets the gain of any USB audio coming in
System > Audio Routing USB to Main (dB) 0
to Digitone at the main output
It is recommended to retain other setting at their defaults.

Technique 16
NOTES
▌AUDIO INTO LOGIC PRO X FROM DIGITONE USB.
1. Connect the Digitone to the Mac hosting Logic Pro X DAW.
2. Ensure Digitone SETTINGS are configured for USB MIDI and Audio.
3. In Logic, setup the audio preferences. Menu: Logic Pro X > Preferences
> Audio. This opens the audio set up window. Set ‘Elektron Digitone’ as
the input device (option also for output device). This may also be
automatically set when connecting the device.
4. In Logic, add a new track. Select ‘+’ in the track window and the track
selection window opens. Ensure the ‘detail’ drop down is open.
5. Select the ‘Audio’ track option.
6. Ensure ‘Elektron Digitone’ is shown in the window as the selected

device. Use the > option to select the audio preference window to
change if necessary.
7. Select the Audio Input - Typically ‘Input 1 + 2’ for the stereo output from
the Digitone. Audio output is the DAW output channels.
8. Digitone audio can be monitored on the audio track created.
9. The audio track can be record enabled and audio recorded in from
Logic when playing Digitone.
▌TRANSPORT CONTROL FROM LOGIC PRO X TO DIGITONE VIA USB.
2. Ensure Digitone SETTINGS are configured for MIDI Config > Sync to:
Transport Receive = ON / Checked. Clock Receive and Send and
Transport Send can also be checked as options if needed.
3. In Logic, setup the MIDI preferences. Menu: Logic Pro X > Preferences
> MIDI then ‘Sync’ Tab. This opens the MIDI set up window.
4. In the ‘Sync’ window, Open the ‘MIDI Sync Project Settings...’ Option.
5. Select the destination ‘All’ or select ‘Elektron Digitone’ as the

destination. Check the ‘Clock’ option. Close the windows.
6. The transport in Logic will control Digitone transport Play and Stop.

16 Technique
NOTES
▌EXTERNAL MIDI CONTROL FROM LOGIC WITH DIGITONE USB.
3. In Logic, setup the audio preferences. Menu: Logic Pro X > Preferences
> Audio. This opens the audio set up window. Set ‘Elektron Digitone’ as
the input device (option also for output device). This may also be
automatically set when connecting the device.
4. In Logic, add a new track. Select ‘+’ in the track window and the track
selection window opens. Ensure the ‘detail’ drop down is open.
5. Select the ‘Use External MIDI Instrument Plug-In’ checkbox.
6. Ensure ‘Elektron Digitone’ is shown in the window as the selected

device. Use the > option to select the audio preference window to
change if necessary.
7. Select the Audio Input - Typically ‘Input 1 + 2’ for the stereo output from
the Digitone. Audio Output is the DAW output channels.
8. Select MIDI Destination. This will be the track controlled by MIDI from
Logic. By default;
• Logic MIDI Channel 1 = Digitone Track 1 (Default in Digitone)

• Digitone also has auto track and other MIDI channels available as
configured.
1. Audio will be picked up in each Logic track which of course will be the
Digitone output 1-2 and not individual audio per Digitone track. Digitone
sends on the two audio 1 and 2 channels. Separate Logic audio track to
record the stereo or mono inputs.
Digitone Audio
1 M S R I L R
DIGIT-ONE Ch1
2 M S R L R
SQB TK Ch2
3 M S R L R

Technique 16
NOTES 16.2 USB with Ableton Live
Ableton Live examples illustrate the options USB MIDI and Audio provides.
These are for example and illustration purposes only and other methods
may be applied. Hardware and software versions may vary and evolve and
the exact functionality may change.
Live 9 to Digitone
Connectivity
A Live audio track can be set up to receive the Digitone audio in via USB. Individual MIDI tracks
can be set, for example one Live track to each Digitone track. Individual control of Digitone sounds
is then possible. Audio from the Digitone USB will be available in the Live audio tracks as a stereo
1-2 pair or 1 or 2 inputs in the audio track.
Mac or Windows PC’s normally have a USB Type A or Type C. A compatible cable is needed for
connection to the Digitone USB - Type B connection. Digitone is supplied with a Type A to Type B
Cable.
SETTINGS

System > USB Config USB Audio / MIDI ON Enable MIDI and Audio over USB to Live.
synchronised in the Digitone from Live
synchronised in the Live from Digitone
MIDI Config > Sync Transport Receive ON Stop, Start control of Digitone from Live
MIDI Config > Sync Transport Send ON Stop, Start control of Live from Digitone
Internal Digitone audio not routed to main
System > Audio Routing Int to Main OFF output. Set ON if the internal audio is
required.
Sets the gain of any USB audio to the
System > Audio Routing USB to Main (dB) 0
Digitone main output

16 Technique
NOTES
▌AUDIO INTO LIVE FROM DIGITONE USB.
1. Connect the Digitone to the Mac hosting Live DAW.
3. In Live, setup the audio preferences. Menu: Live > Preferences > Audio.
This opens the audio set up window. Set ‘Elektron Digitone (2 in, 2 out)’
as the analogue input device (option also for output device).
4. In Live, insert a new audio track or select an existing free audio track.
5. Ensure the audio track ‘Audio From’ is set to Ext In and to the input
channels required. This is typically 1/2 for the Digitone stereo output but
can also be 1 or 2 for each individual channel.
6. Select ‘In’ on the audio track to monitor the Digitone audio signal.
7. The audio track can be record enabled and audio recorded into a clip
within Live when Digitone is playing.
▌TRANSPORT CONTROL FROM LIVE TO DIGITONE VIA USB.
1. Connect the Digitone to the Mac hosting Live DAW.
Transport Send can also be checked as options if needed.
3. In Live, setup the link MIDI preferences. Menu: Live > Preferences then
‘Link MIDI’ Tab. This opens the Link MIDI set up window.
4. In the ‘MIDI Ports’ Section, Set the ‘Output: Elektron Digitone’, Sync
setting to ON.
5. The transport for Digitone is controlled by Live’s play and stop. Tempo is
also synchronised if Digitone Clock Receive is on in the MIDI Config >
Sync options.

Technique 16
NOTES
▌SETTING UP A LIVE MIDI TRACK TO CONTROL DIGITONE
1. Connect the Digitone to the Mac hosting Live
Transport Send also be checked.
3. In Live, setup the Link MIDI preferences. Menu: Live > Preferences then
‘Link MIDI’ Tab. This opens the Link MIDI set up window.
4. In the ‘MIDI Ports’ Section, Set the ‘Output: Elektron Digitone’, Sync
setting to ON and also Track setting to ON.
5. Create a MIDI Track in Live.
6. Set the MIDI track ‘MIDI To’ to ‘Elektron Digitone’ and also to the
desired Channel, i.e. Channel 1 to control Digitone Track 1. Defaults
Digitone Track 1,2,3,4 are MIDI Channel 1,2,3,4.
7. This will send the data from clips and devices in the MIDI track to the
defined channel. Additional tracks can be configured for Digitone.
1 MIDI Digitone 2 Digitone Audio
MIDI From Audio From

All Ins Ext. In
All Channels 1/2
Monitor Monitor
In Auto Off In Auto Off
MIDI To Audio To
Elektron Digitone Master
Ch. 1
Sends
A
B
-4.30
0
12
24
1 2
36
s s 48
60

16 Technique
16.3 USB with Teenage Engineering OP-Z Synth NOTES
Teenage Engineering OP-Z is a synth, sequencer and sampler. This

example illustrates the interconnection of both devices over USB. This is
one way but other methods may be applied. Hardware and software
versions may vary and evolve and the exact functionality may change.
OP-Z 1.2.28 to Digitone
Sequence
OP-Z has, by default each of its tracks

allocated to a MIDI Channel. Digitone also has
the default tracks allocated by MIDI Channel.
So Track 1 on Digitone can be sequenced by
the Track 1 on OP-Z. These can be
reconfigured using the OP-Z app and also in
the Digitone MIDI Config > Channels menu.
Connectivity
OP-Z and Digitone can work in sync with either acting as the primary control. Sync and Transport
governs the control. Given that the OP-Z does not support Audio over USB, the USB Config USB
MIDI setting can be selected instead of the USB AUDIO / MIDI.
OP-Z has a USB Type C. A compatible cable or USB hub or Interface would be needed to ensure
connection to the Digitone USB - Type B connection.
SETTINGS

Enable MIDI over USB. OP-Z is not USB
System > USB Config USB MIDI ON
Audio compatible.
synchronised from the OP-Z to Digitone
synchronised from Digitone to OP-Z
MIDI Config > Sync Transport Receive ON Stop, Start control of Digitone from OP-Z
MIDI Config > Sync Transport Send ON Stop, Start control of OP-Z from Digitone
System > Audio Routing Audio over USB not supported by OP-Z

Technique 16
NOTES 16.4 USB MIDI & Audio with iPad
Apple iPad & Digitone
AUM with MSXII Sound Design Chomplr MIDI Controlled by Digitone
USB
USB
AUM Configuration and Connectivity
AUM is an app that hosts plug ins and interfaces internal and external MIDI and Audio. MSXII
Sound Design’s Chomplr is a AUv3 Plug In (iOS app) instrument reminiscent of classic romplers
and allows playback of sliced samples. MIDI from Digitone across USB into the iPad can control
the AUM hosted instrument. This can offer creative opportunities when sequencing MIDI Tracks.
The Output audio can also be routed back to Digitone over USB. Set up Digitone’s MIDI track
sequencing as normal with the channel to match in AUM. Audio can be mixed to the internal
Digitone or internal Digitone audio switched off.
A camera connection kit or equivalent connector adapter / cable is required to transfer from the
USB Type A connection to the iPad connector.
SETTINGS

Enable MIDI and Audio over USB to
System > USB Config USB Audio / MIDI ON
transfer out to iPad and back to Digitone.
MIDI Config > Sync Clock Receive OFF Control over Digitone not required.
MIDI Config > Sync Clock Send ON Digitone controls iPad AUM + Chomplr
MIDI Config > Sync Transport Receive OFF Control over Digitone not required.
MIDI Config > Sync Transport Send ON Digitone controls iPad AUM + Chomplr
Send MIDI Trigs from Digitone to iPad.
MIDI Config > Port Config Output To USB
USB is faster than MIDI + USB.
MIDI Config > Port Config Trig Key Dst INT Sends MIDI output from Trigs.
Selects to have the internal Digitone
Audio Routing Int to Main INT
audio delivered the main out

16 Technique
NOTES
Apple iPad to Digitone
AUM and MSXII Sound Design Chomplr MIDI Controlled from Digitone.
Audio returned back to Digitone over USB
MSXII Chomplr AUM

As the plug in instrument As the host Audio / MIDI
Mixer and hub.
MIDI IN from Digitone

routed to control Chomplr
Audio Channel
USB
Compatible device i.e.

iPad / iPhone
Digitone
Audio Output back to Digitone
Main Out.
Chomplr
Notes are programmed in Digitone. The MIDI Channel is set
for the track and trigs sequenced on the MIDI track. Chomplr
sample slices are triggered from the Digitone sequence.

Technique 16
NOTES 16.5 Patch Design and Patch Sheets
Follows is a series of patch sheets that give an overview of patches for
common sounds. This can help deconstruct how sounds are created and
give a starting point for tweaking and developing further.
• The patch sheets show a sound ‘end state’. In reality patch design is an
iterative process with no defined order of adjustment. In fact it is
important to adjust and then revisit previously set parameters, honing in
on the final sound. This is how sound design works.
• Small incremental changes are recommended. Moving slowly in the

direction that you want.
• Listening to the output rather than working to parameter numbers is

important. While these patch sheets give a final patch sound, listen to
how the incremental changes affect the sound.
• Experiment with changes. There is nothing wrong about testing and

tweaking without too much thought. Happy accidents often come through
experimentation.
• Remember the randomise feature and how this can inspire some
creativity by throwing the dice on each parameter page using parameter
page i.e. [SYN1] + [YES]
• You can restore saved settings is you get lost with parameter page i.e.
[SYN1] + [NO]
• A tip is to save different stages under different slots of the sound as it

evolves. This helps learn and revisit the various stages. These can
always be deleted later.
• Often producers separate sound design from the production process. So

spending a few hours building drum kits and sound packs gets focus and
attention. Using these packs then later in the pure production and
arrangement process
• Treat these patch sheets as a guide. Try your own designs or use
these as a starting point, deconstruct and rebuild to find your own
workflow.
• Keep an eye on the overall sound level in the AMP page. Keep this
low as a start as some sound adjustments may become pretty loud
in the design process.

16 Technique
16.6 Patch Sheet: Bass NOTES
Buzzy electronic resonant lead style bass . Start with a default patch -
parameters default other than those below.
General
Parameter Location / Menu Setting Description
Locked Voices Voice Menu 1 This will be monophonic, hence 1 voice
Filter Keytrack Sound Setup Menu 0 Remove filter cutoff tracking to pitch.
Octave Sound Setup Menu -3 Set a default octave, into the bass range
Synth
B Lev Syn 2 80 Ensure Operator B is heard
Algorithm 2 to focus on B & C operators
Algo Syn 1 2
and allow a mix of 2 discrete oscillators
C Ratio Syn 1 6 Adjust ratio and lower octave [DOWN]
Harm Syn 1 -7 Saw wave - typical for bass
Detun Syn 1 70 Thicken add movement to the sound
Fdbk Syn 1 25 Aggression and a gnarly edge
Mix Syn 1 0 B & C Operator mix balanced.
Filter
Typical bass sound design is to reduce
Freq Fltr P1 80
upper frequencies with high cut.
Reso Fltr P1 15 Increase resonance
Introduce some shape to the sound with
Env Fltr P1 10
an envelope - small amount
Dec Fltr P1 50 Envelope decay
Base Fltr P2 15 Create space in the lower range
Amp
Attack Amp P1 5 Overall Sound shape, initial start
Dec Amp P1 0 Overall Sound shape decay
Sus Amp P1 127 Overall Sound shape, sustain full
Rel Amp P1 25 Overall Sound shape, short release
Drv Amp P1 90 Add grit and interest with distortion

Slight chorus. Don't overdo effects as
Cho Amp P2 10
this is bass and should be fairly dry.

Technique 16
NOTES 16.7 Patch Sheet: Techno Hard Kick Drum
Techno hard kick drum. Start with a default patch - parameters default other
than those below.
General
Octave Sound Setup Menu -1 Set a default slightly lower octave
Synth
A Lev Syn 2 70 Ensure Operator A is heard
Algo Syn 1 4 Algorithm 4 with Osc B in focus
C Ratio Syn 1 0.25 Adjust ratio to get the right sound on C
A Ratio Syn 1 0.25 Adjust ratio to get the right sound on A
B Ratio Syn 1 0.75/0.25 Adjust ratio to get the right sound on B
Mix Syn 1 -50 B & C Operator mix balanced.
A Dec Syn 2 12 Envelope decay - Osc A Shape
A End Syn 2 0 Envelope End - Osc A Shape
A Dec Syn 2 12 Envelope decay - Osc B Shape
A End Syn 2 0 Envelope End - Osc B Shape
Filter
Type Fltr P1 LP2 High Pass filter type
Freq Fltr P1 45 Cutoff frequency - cut low end

Envelope depth to develop distinct
Dep Fltr P1 50
sound shape for punch
Amp
Rel Amp P1 35 Overall Sound shape, release for tail

Overall Sound shape, no sustain to only
Drv Amp P1 40
capture the transient
As variation try adding some subtle reverb and shaping the effect filter to add slight depth to
the sound. Also consider an LFO on pitch.

16 Technique
16.8 Patch Sheet: Electronic Pitched Kick Drum (1/2) NOTES
Classic 80’s electronic pitched kick drum. Start with a default patch -
parameters default other than those below.
General
Synth
Algo Syn 1 2 Algorithm 1 to get a transient plus a tail
B Ratio Syn 1 1/0.5 Adjust ratio to get the right sound on B
Fdbk Syn 1 25 Add a little dirt
Mix Syn 1 0 B & C Operator mix balanced.
B Dec Syn 2 25 Envelope decay - Osc B Shape
B End Syn 2 80 Envelope End - Osc B Shape
Filter
Type Fltr P1 HP High Pass filter type
Reso Fltr P1 30 Introduce some resonance
Amp

Overall Sound shape, no sustain to only
Sus Amp P1 0
capture the transient

Technique 16
NOTES 16.8 Patch Sheet: Electronic Kick Drum (2/2)
Classic electronic kick drum. Start with a default patch - parameters default
other than those below.
LFO
Dest 1 LFO P1 Syn Pitch Synth Pitch All - Signature pitch shape
Dest 2 LFO P1 Syn Pitch Synth Pitch All - Signature pitch shape
Wave 1 LFO P1 Saw Shape for pitch
Wave 2 LFO P1 Exp Shape for pitch
Spd 1 LFO P1 10 LFO 1 Speed
Spd 2 LFO P1 20 LFO 2 Speed
Dep 1 LFO P1 9 Depth of LFO 1 that affects pitch
Dep 2 LFO P1 40 Depth of LFO 2 that affects pitch
Mult 1 LFO P2 32 Speed multiplier that affects pitch
Mult 2 LFO P2 32 Speed multiplier that affects pitch
Mode 1 LFO P2 HLF Half Cycle reset
Mode 2 LFO P2 ONE One Cycle reset

16 Technique
16.9 Patch Sheet: Closed Hats. NOTES
Standard electronic closed hats. Start with a default patch - parameters

default other than those below.
General
Synth
A Lev Syn 2 75 Ensure Operator A is heard - Rasp
B Lev Syn 2 120 Ensure Operator B is heard - Metallic
Algo Syn 1 1 Algorithm 1
C Ratio Syn 1 2 Adjust ratio to get the right sound on C
B Ratio Syn 1 10/1 Adjust ratio to get the right sound on B
Harm Syn 1 -26 Hybrid wave
Fdbk Syn 1 127 Feedback on Osc A for fuzz
Dtun Syn 1 127 Fully detuned
Filter

Amp
Sus Amp P1 0 No sustain
Add Delay to get a shuffle into the pattern on some or all steps in a pattern. Also try using an
LFO to vary the velocity on the sound and give a natural feel.

Technique 16
NOTES 16.10 Patch Sheet: Open Hats.
Standard electronic open hats. Start with a default patch - parameters
General
Synth
A Lev Syn 2 75 Ensure Operator A is heard - Rasp
B Lev Syn 2 120 Ensure Operator B is heard - Metallic
Harm Syn 1 -26 Hybrid wave
Fdbk Syn 1 127 Feedback on Osc A for fuzz
Dtun Syn 1 127 Fully detuned
Filter

Amp
Sus Amp P1 10 Sustain
Rel Amp P1 30 Release
Add a little reverb and chorus for more effect. Try using an LFO to vary the velocity on the
sound and give a natural feel or even on the envelope decay and release to vary the hat tail.

16 Technique
16.11 Patch Sheet: Snare Drum NOTES
Electronic snare drum. Start with a default patch - parameters default other
than those below.
General
Synth
Algo Syn 1 1 Algorithm 1 with Osc B in emphasis
C Ratio Syn 1 0.25 Adjust ratio to get the right sound on C
Dtun Syn 1 120 Detune
Fdbk Syn 1 127 Feedback to A
Mix Syn 1 -64 Operator mix balanced.
Filter
Atk Filter P1 3 Small attack for initial transient
Amp
Drv Amp P1 35 Overdrive
As variation try adding some subtle reverb and shaping the effect filter to add slight depth to
the sound.

Technique 16
NOTES 16.12 Patch Sheet: Bell
FM Classic bell sound. Start with a default patch - parameters default other
than those below.
General
Octave Sound Setup Menu +1 Set a default slightly lower octave
Synth
B Lev Syn 2 0
A Ratio Syn 1 8 Adjust ratio to get the right sound on A
Mix Syn 1 -64 Operator mix balanced.
Atk Syn 2 0 Attack time
Dec Syn 2 120 Decay time
Filter
Env Filter P1 0 No Envelope
Amp
Attack Amp P1 0 No attack, instant sound
Dec Amp P1 90 Decay
Sus Amp P1 0 No Sustain
Rel Amp P1 60 Release

16 Technique
16.13 Patch Sheet: Epic Orchestral Pad (1/2) NOTES
Epic orchestral cinematic style pad. Start with a default patch - parameters
General
Locked Voices Voice Menu 2 Gives 2 Voices to the sound
Unison Voice Menu 2 Unison
Unison Spread Voice Menu 64 Spread of voices
Synth
Algo Syn 1 4 Algorithm 4 with Osc B in emphasis
A Ratio Syn 1 1 Adjust ratio to get the right sound on A
Harm Syn 1 -6 Saw
Dtun Syn 1 35 Detune to widen the orchestra
Fdbk Syn 1 30 Feedback to B to add some distortion
Mix Syn 1 0 Operator mix balanced.
C Ratio Offset Syn 1 P2 +0.001 Orchestral width - Multi instruments sim
A Ratio Offset Syn 1 P2 -0.001 Orchestral width - Multi instruments sim
B1 Ratio Offset Syn 1 P2 -0.001 Orchestral width - Multi instruments sim
B2 Ratio Offset Syn 1 P2 +0.001 Orchestral width - Multi instruments sim
Filter
Type Fltr P1 LP4 High Pass filter type
Freq Fltr P1 95 Cutoff frequency - high end cut
Reso Filter P1 40 Resonance to add more impact
Atk Filter P1 60 Small attack for initial transient
Dec Fltr P1 80 Envelope decay for filter
Sus Fltr P1 80 Envelope sustain for filter
Rel Fltr P1 80 Envelope Release for Filter
Env Fltr P1 10 Envelope Amount
Base Fltr P2 50 Low cut to remove rumble
Wdth Fltr P2 55 High cut to take edge off the top end

Technique 16
NOTES 16.13 Patch Sheet: Epic Orchestral Pad (2/2)
Epic orchestral cinematic style pad. Start with a default patch - parameters
Amp
Attack Amp P1 100 Overall sound shape, longer pad start
Dec Amp P1 50 Overall sound shape decay
Sus Amp P1 75 Overall sound sustain
Rel Amp P1 50 Overall sound medium release
Drv Amp P1 35 Overdrive
Cho Amp P2 85 Add Chorus Send
Del Amp P2 40 Add Delay Send
Rev Amp P2 85 Add Reverb Send
LFO
Dest 1 LFO P1 Syn Harm Light modulation on the harmonics
Dest 2 LFO P1 Syn Pitch Synth Pitch All for movement
Wave 1 LFO P1 Sin Shape for harmonics
Wave 2 LFO P1 Sin Shape for pitch
Spd 1 LFO P1 0.02 LFO 1 Speed
Spd 2 LFO P1 0.02 LFO 2 Speed
Dep 1 LFO P1 0.1 Depth of LFO 1 that affects pitch
Dep 2 LFO P1 0.1 Depth of LFO 2 that affects pitch
The effects can be adjusted for example stereo and width. These are great for the orchestral
sound but will then be applied to other elements sent to these effects.

16 Technique
16.14 Tips: Simulating Human Natural Velocity NOTES
Digitone does not host a conventional keyboard and therefore does not
capture velocity levels from input of trigs. A set default velocity is attached
automatically to each trig of 100 within the 1-127 range available. This will
be ok to get exact repeats and mechanistic rhythms but to get a more
human feel, velocity and timing can add natural feel. Hi Hat runs are good
examples of applying this technique. We will use the closed hat on track 4
to demonstrate this procedure.
1. Press [T4] to select track 4 and load a hi hat sound into the track.
2. Create a Hi Hat run across 16 steps of Page 1 by setting trigs on each

step in GRID RECORDING mode. The timing of each trig will be
perfectly on step and velocity 100 of each.
3. Press [PLAY] to hear the ‘fixed’ hat sequence play out.
4. Switch to unquantized LIVE RECORDING by pressing [REC] + [PLAY].
5. Select the [TRIG] page.
6. While the track is playing in LIVE RECORDING mode turn (B) - VEL.
This will record a variation of the velocity setting across each of the 16
steps.
7. Press [REC] to switch to GRID RECORDING mode to see and check

the trig velocities.
8. To add timing variety hold a Trig [1] … [16] and press [RIGHT] or [LEFT]
to adjust the micro timing of the step eg 1/192. Slight variations are
usually a good approach.
9. Repeat step 7 for several individual steps to add variation.
10. For even more variation add some pattern swing using [TEMPO] and
adjusting (E) by a small amount, i.e. to 52% for example.

Technique 16
NOTES 16.15 Tips: Simulating Polyrhythms
Polyrhythms are variations between 2 or more tracks and patterns which

when played together can create more interesting progressions and provide
an intentional detachment from each track in its sequence timing. For
example a fixed pattern for 16 steps may play alongside a pattern running
14 steps. The restart of each pattern will ensure variation through each
cycle.
1. Create 16 step percussion patterns across a number of tracks for

example hats, toms, clap, kick, snare across multiple tracks - 1 Page,
16 steps, default settings.
2. Select first tracks to create length variations. For example, select the
track 1, Press [T1].
3. Select [FUNC] + [PAGE] to access the pattern lengths and scales.
4. Press [FUNC] + [YES] to select LENGTH PER TRACK if not already in

this view. The length for this track 1 is shown as default 16/16.
5. Adjust the LENGTH using (E) to create a new length eg 10/16 for this
track only.
6. Repeat steps 2 - 5 for track 2, 9/16 length.
7. In the PAGE menu [FUNC] + [PAGE] in the LENGTH PER TRACK page
set the pattern MLEN to INF using (F).
8. Try experimenting with the number of tracks with length variations, but
as a tip keep the majority of tracks following a set pattern to keep some
order. But music is also about experimentation - right? So why not also
look at adjusting :-
Page Parameter Value

Pattern scale menu SCALE Experiment with settings
Tempo Menu SWING Experiment with settings
Scale - track CH.LEN Experiment with chain length settings
Trig page COND Secondary parameter when holding trig

16 Technique
16.16 Get Creative Playing Live NOTES
While producing music using Digitone in the studio is all great, its power is
fully unleashed when playing live or simply jamming. Here are some short
quick fire tips when playing live.
• Use global control to adjust ALL tracks simultaneously by holding [MIDI]

and making a change such as filter cut off sweep, delay or overdrive.
• Randomise parameters using the parameter page i.e [FILTER] + [YES].

Reset parameters with [FILTER] + [NO].
• Make pattern length changes on the fly by pressing [FUNC] + [ PAGE]

and selecting the trig keys to quickly change pattern lengths of
individual or all tracks.
• Use mutes to silence tracks and develop live variations.
• Tweak and change parameters on sounds then reload track sounds with
Track e.g. [T1] + [NO].
• Make variations by changing parameters and effects and if things get

crazy. Press Track e.g. [T1] + [NO] to reload the sound to the original
state.
• Use the track levels to bring in tracks gradually and individually at the
start and ending of songs.
• Adjust pattern or global tempo on the fly.

Technique 16
16.17 Digitone Connection Template
Digitone ROUTING CHART DATE REVISION
AUDIO
Audio In From Description
Left
Right
Audio Out To Description
Left
Right
MIDI
MIDI In From Midi Channel Midi Sync Description / Type
5 Pin In
MIDI Out To Midi Channel Midi Sync Description / Type
5 Pin Out
MIDI Thru To Midi Channel Midi Sync Description / Type
5 Pin Out
USB To/From Midi Channel Midi Sync Description / Type
USB
STUDIO
TEMPLATE
Digitone Routing

NOTES

17
Digitone Keys
There are two models of Digitone. The most dedicated controls on the synth. The general
common is the desktop module and all the functionality is the same, especially around the
sections of this guide so far have referred to OS. So the information provided applies equally
this model. Digitone is also available as a keys to both versions and this guide can be considered
version which is set out with additional and a reference for both. To focus in on Digitone Keys
unique hardware features. The keys version this section polarises to features that are unique
has a 37 key, semi-weighted keyboard which is to the keys model. The overview demonstrates
velocity sensitive with aftertouch features. A these differences and In general will show up
pitch wheel and modulation wheel are also exceptions from the desktop module. The
included which can be freely assignable. Each Digitone Keys model is a welcome option in
audio track has dedicated balanced outputs as addition to the desktop version bringing a more
well as the main balanced audio output. There complete and enhanced feature set while still
are also two dedicated connections for CV, maintaining the same core functionality of the
sustain pedal or expression pedal inputs. In desktop version.
addition several operating features have

17 Digitone Keys
17.1 Overview of Digitone Keys
Master Volume
Adjusts the Audio Output and Headphone levels
Pitch Options
Opens the pitch wheel setting options
[FUNC] + [PTCH] Mutes pitch wheel function. Mod & Pitch Wheel
Both modulation wheels are
configurable
Mod Options
Opens the modwheel setting options
[FUNC] + [MOD] Mutes pitch wheel function.
Transpose Down
Transposes keyboard down per octave.
[FUNC] + [OCT-] transposes sequencer notes down.
Transpose Up
Transposes keyboard up per octave.
[FUNC] + [OCT+] transposes sequencer notes up.
LED’s show current transposition state

Digitone Keys 17
Hold User Mode

Hold function is toggled On/Off. User mode for assignment of 8 user knobs.
[FUNC] + [HOLD] toggles portamento - On (LED On) or Off. Press [USER MODE] to display parameters.
Hold [USER MODE] to toggle between user or
the default parameters for the control knobs.
Arpeggiator [FUNC] + [USER MODE] Assignment menu.
Arpeggiator function is toggled On/Off.
[FUNC] + [ARP] opens arpeggiator setup menu.
Multi Map User Controls

Multi-Map function is toggled On/Off. Assignable user (CONTROL) knobs. Also preset with
[FUNC] + [MAP] opens multi-map setup menu. default mode parameters of:-
1. Ratio A 5. Level B
MIDI External Control
2. Ratio B 6. Mix
MIDI Controller function is toggled On/Off.
3. Harmonics 7. Cutoff
[FUNC] + [EXT] opens MIDI External setup menu.
4. Level A 8. Resonance
Track Note
Opens track note menu (transpose, scale, chords).
[FUNC] + [TRACK NOTE] toggles chords - On (LED On) or Off
[TRIG] + [TRACK NOTE] add notes / chords in sequencer (Grid Rec)
37 Key, semi-weighted keyboard. Velocity

sensitive and aftertouch functionality.

1 Overview
Level / Data
Adjusts the selected track level.
Song Mode
Opens the song mode menu.
[FUNC] + [SONG] opens the Import & Export Menu
Global Settings
Opens the global settings and project management options.
[FUNC] + [SETTINGS] Saves current project
Voice
Opens the voice handling allocation and settings.
[FUNC] + [VOICE] toggles unison mode on or off
Tempo
Opens the global / pattern tempo menu.
[FUNC] + [TEMPO] for setting a tap tempo
OLED Display
128 x 64 Pixel, context sensitive screen
Sequencer transport modes & controls
[REC] Grid recording mode on/off

[REC] + [PLAY] Live Recording mode on/off
[REC] + tap [PLAY] + tap [PLAY] for live rec quantize on/off.
[REC] + [STOP] Step recording mode on/off.
[PLAY] Starts the sequencer running.

[STOP] Stops the sequencer playback.
[FUNC] + [REC] for Copy function

[FUNC] + [STOP] Pastes the copied item
[FUNC] + [PLAY] for Clear function
Sound Manager
[FUNC] + (LEVEL/DATA) opens the sound browser menu
Secondary Function Pattern Select

Accesses the secondary ‘green’ function by holding Selects the respective patterns 1-16.
[FUNC] plus the chosen button together Press [PTN] then TRIG [1] - [16].
[FUNC] + [PTN] Selects metronome options
MIDI Bank Select

MIDI mode - opens MIDI editing pages. Selects the respective Bank A-H.
[FUNC] + [MIDI] accesses MIDI Configuration menu. Press [BANK] then TRIG [9] = A to [16] = H.
[FUNC] + [BANK] Selects mute mode

Overview 1
Data Entry Controls Trig Parameters
8 Endless rotaries A-H adjust the parameter aligned [TRIG] Access to the trig parameter menu.
with context specific function on the display. Press [FUNC] + [TRIG] to access sound set up menu.
and turn for greater incremental changes.
Syn1 Settings
Selects the synth FM engine settings - page 1&2.
[FUNC] + [SYN1] for arpeggiator settings.
Syn2 Settings
Selects more synth FM engine settings - page 1&2.
[FUNC] + [SYN2] for chorus effect settings.
Filter Parameters
Opens the multimode filter settings - page 1&2.
[FUNC] + [FLTR] for delay effect settings.
Amp Settings
Amplitude & effect send settings - page 1&2.
[FUNC] + [AMP] for reverb effect settings.
LFO Settings
Low frequency oscillator settings - page 1&2.
[FUNC] + [LFO] for master output parameters
The parameter keys also give access to MIDI configuration

pages when in MIDI Mode.
Yes
Selects the current value and menu during navigation.
[FUNC] + [YES] Temporary saves active pattern.
No
Exits or cancels or backs up from the current value or
menu during navigation.
[FUNC] + [NO] Reloads the temporary saved pattern.
Page
Selects the active pattern page.
Lit LED indicates pattern pages. Flashing LED
indicates the current track that is being played.
FUNC] + [PAGE] Scale menu and also fill function.
Navigation Controls
[UP] [DOWN] [LEFT] [RIGHT].
In chromatic mode [UP][DOWN]
transpose octave
In Grid Recording Mode:
Micro timing using TRIG [1] - [16] + [LEFT] [RIGHT]
Retrig menu with TRIG [1] - [16] + [UP] [DOWN]
Trig Keys 1-16
Trigs are programmed into a sequence.
Selects banks [BANK] and patterns [PTN]
Track Selection
Selects and sets active track 1,2,3 or 4.
Sets the note trigs and parameter locks (with data entry control). [FUNC] + [Tx] to mute the track
Mutes tracks.

17 Digitone Keys
On / Off Switch ¼ Inch Audio Out Balanced, Track 1, 2, 3, 4.
12V DC Power Input. ¼ Inch Audio Out Balanced, Main Out
Hi Speed USB 2.0 Type B ¼ Inch Audio Out Stereo Headphones
5 Pin MIDI DIN ¼ Inch Audio Input

In, Out - Sync A, Thru - Sync B
(Sync, Din 24 or 48)
¼ Inch CV / Control / Expression Input

Digitone Keys 17
NOTES 17.2 Pitch and Mod Wheel
The previous sections cover details of using Digitone. These are generally
applicable to Digitone Keys and should be used for reference. Some key
differences for alignment are:-
• Digitone Keys has a dedicated [SOUND MANAGER] button to access

the sound browser. Sound browser is accessed by desktop model is by
[FUNC] + Press (LEVEL/DATA)..
• Mod Wheel & Pitch Wheel have dedicated functions in Digitone Keys
and the mapping of parameters is directly accessible for these two
functions. The general expanded options for both models are in the
SOUND SETUP Options.
• Keyboard transposition can be done directly from the [OCT-] and

[OCT+] buttons on Digitone Keys.
• Quantize menu is available through [FUNC] + [SYN1] on Digitone Keys,

found on Digitone under the PATTERN options in the [SETTINGS]
Menu. This is Arp menu on Digitone where this has a dedicated key on
Digitone Keys.
• Dedicated keys for arp and multi map.
• Hold function for keyboard notes and chords
• MIDI Ext feature to control external MIDI devices using the Digitone
Keys keyboard features and controls.
• Dedicated user controls to directly control parameter values. These

have default parameters assigned but also offers the possibility to
assign other parameters from the parameter pages in user
configurations.

17 Digitone Keys
17.3 Pitch and Mod Wheel NOTES
Unlike the desktop version, Digitone Keys has dedicated pitch and mod
wheel and direct access to set up controls.
+ +
Pitch wheel is bipolar and will add Mod wheel will increase the
to the assigned parameters value assigned parameter value when
when moved positive and subtract moved up and reduce its value
from the parameter value when when moved down
moved negative
- 0
[PTCH] gives direct access to the [MOD] gives direct access to the controller
controller modulation setup page. Up to modulation setup page. Up to four
four parameters can be assigned to the parameters can be assigned to the mod
pitch bend control. wheel control.
The MIDI Interfacing section also covers the assignment of modulation parameters in more detail
▌MUTING A MODULATION WHEEL CONTROL
1. Hold [FUNC] + [PTCH] to mute the pitch wheel control.
2. Hold [FUNC] + [PTCH] to unmute a muted pitch wheel control.
3. Hold [FUNC] + [MOD] to mute the mod wheel control.
4. Hold [FUNC] + [MOD to unmute a muted mod wheel control.

Digitone Keys 17
NOTES
Setting up the modulation parameters
Pitch Bend Mod Wheel Breath Ctrl Aftertouch Velocity
Access to setup directly with PTCH and Routing MIDI in to pages SYN1, SYN2,
MOD buttons. All modulation options FLTR, AMP and LFO parameters.
available in the sound setup menu.
Parameter
destination set
using data entry
(A) - (D)
Modulation depth
offset using data entry
(E) - (H)
Modulation input indicator from

MIDI function. Also simulated
with (LEVEL / DATA)
Data Entry controls used to set the MIDI routing

17 Digitone Keys
17.4 Dedicated Function Keys NOTES
Some buttons have been added to Digitone Keys that adds new
functionality and also brings some menu options upfront to their own
dedicated button. As is the norm with Digitone, these buttons have dual
functions with the secondary function accessed by [FUNC] + Button.
Press to toggle on/off

Button illuminates when activate
Hold Arp Multi Map MIDI Ext Track Note
[FUNC] + Press to select

LED’s will illuminate when portamento and chord modes are activate
Hold
Pressing [HOLD] maintains keyboard notes / chord sounds playback is

sustained or keeps an arpeggio running even when the notes are released.
Each track has its own dedicated hold state as does MIDI Controller mode.
The button is lit when hold mode is on.
The [FUNC] + [HOLD] secondary function toggles portamento mode on or

off. LED is lit when portamento is on.
Arp
Pressing [ARP] toggles the arpeggiator function for the sound on or off. The
button is lit when the arpeggiator is selected on.
The [FUNC] + [ARP] secondary function opens the arpeggiator setup menu.
Full details of the arp function are found in section 5. Patterns Advanced.

Digitone Keys 17
NOTES
Multi Map
Pressing [MULTI MAP] toggles the multi map function for the keyboard
mapping on or off. The button is lit when multi map mode is selected active.
Multi map mode allows the assignment of sections of the keyboard to
control defined sounds, trigger MIDI notes and to trigger patterns.
The [FUNC] + [MULTI MAP] secondary function opens the multi map setup
option menu.
Full details of the multi map function and set up are found in section 13.
MIDI Interfacing.
MIDI Ext
Pressing [MIDI EXT] toggles the MIDI controller mode function on or off.
The button is lit when multi map mode is selected active. MIDI Ext mode
allows the Digitone Keys keyboard to control external MIDI devices.
The [FUNC] + [MIDI EXT] secondary function opens the MIDI Ext setup
option menu.
Track Note
Pressing [TRACK NOTE] opens the track note function menu. The button is
lit when track note menu is selected. Track note menu offers visual insight
into trig keyboard and keyboard scale, chord and transposition.
The [FUNC] + [TRACK NOTE] secondary function toggles chord mode

(visible in the track note menu) on or off. The LED will illuminate when a
chord mode is set on.
Pressing Trig [1] … [16] + [TRACK NOTE] adds notes and chords in the
sequencer when in grid recording mode.
Full details of the track note function and set can be found in section 4.
Pattern Basics.

17 Digitone Keys
17.5 MIDI Ext Function NOTES
MIDI Ext mode allows the Digitone Keys keyboard as well as other
control functions to control external MIDI devices. When MIDI Ext is
on, the settings in MIDI Ext take priority, over the MIDI port config
settings. MIDI Ext settings are saved with the project.
The [FUNC] + [MIDI EXT] secondary function opens the MIDI Ext setup
option menu.
Control of external devices from the keyboard

features and also the control knobs of the
Digitone Keys.
2
On / Off
3 6
8
User control knobs can be configured for CC
Mod wheel and pitch
Output control of external devices
bend can be configured
to send MIDI data
Data entry knobs can be Keyboard can be configured for CC Output

configured for CC Output control of external devices
control of external devices
5
4 7
Transport controls can be

configured for MIDI output for
Play, Stop & Pause

Digitone Keys 17
NOTES
MIDI Ext Setup Parameters
Parameter Setting Description
1 SLOT 1-8 Sets the slot location to store each MIDI EXT configuration
2 MIDI CH 1-16 Channel for MIDI control data
3 CTRL KNOBS CC CC Value Sets the MIDI CC value for each of the user control knobs.
4 DATA KNOBS CC CC Value Sets the MIDI CC value for each of the data entry control knobs.
Sets whether the keyboard sends data. INT is internal only, no data
sent. INT + EXT sends data internally to the Digitone engines and
5 KEYBOARD INT, INT+EXT, EXT also out to MIDI devices. EXT will only send out to MIDI devices
and not to Digitone. The [OCT+] and [OCT-] keys are lit purple
when in INT+EXT or EXT.
Sets whether the user control knobs sends data. INT is internal
only, no data sent. INT + EXT sends data internally to the Digitone
6 CTRL KNOBS INT, INT+EXT, EXT
engines and also out to MIDI devices. EXT will only send out to
MIDI devices and not to Digitone.
Sets whether the data entry sends data. INT is internal only, no
data sent. INT + EXT sends data internally to the Digitone engines
7 DATA KNOBS INT, INT+EXT, EXT
and also out to MIDI devices. EXT will only send out to MIDI
devices and not to Digitone.
Sets whether the mod wheel and pitch wheel sends data. INT is
internal only, no data sent. INT + EXT sends data internally to the
8 MW/PW INT, INT+EXT, EXT Digitone engines and also out to MIDI devices. EXT will only send
out to MIDI devices and not to Digitone. The [PTCH] and [MOD]
keys are lit purple when in INT+EXT or EXT.
Sets whether the play, stop and pause sends transport data. INT is
internal only, no data sent. INT + EXT sends data internally to the
9 TRANSPORT INT, INT+EXT, EXT
Digitone engines and also out to MIDI devices. EXT will only send
out to MIDI devices and not to Digitone.

17 Digitone Keys
17.6 Direct Controls NOTES
Digitone Keys has 8 assignable control knobs. These rotaries have default
assignments to synth functions but also can be user configured to other
parameters found in the parameter pages. Turn (1) … (8) to adjust the
parameter or Press & Turn (1) … (8) for larger value changes.
Default Settings
1 2 3 4 5 6 7 8
Default Mode Function Description

Operator A ratio within the FM synth algorithm. This parameter
1 Ratio A FM Synth Engine is found in Syn1, Page 1, Ratio ‘A’ - Data Entry (C). When first
entering USER mode the default parameter is Filter Attack.
Operator B ratio within the FM synth algorithm. This parameter

2 Ratio B FM Synth Engine is found in Syn1, Page 1, Ratio ‘B’ - Data Entry (D). When first
entering USER mode the default parameter is Filter Decay.
Harmonics setting for FM synth algorithm. This parameter is

3 Harmonics FM Synth Engine found in Syn1, Page 1, ‘Harm’ - Data Entry (E). When first
entering USER mode the default parameter is Filter Sustain.
Level for operator A in the FM synth algorithm. This parameter

4 Level A FM Synth Engine is found in Syn2, Page 1, A ‘Lev’ - Data Entry (D). When first
entering USER mode the default parameter is Filter Release.
Level for operator B in the FM synth algorithm. This parameter

5 Level B FM Synth Engine is found in Syn2, Page 1, B ‘Lev’ - Data Entry (H). When first
entering USER mode the default parameter is Ratio C.
Mix X-Y setting for FM synth algorithm. This parameter is

6 Mix FM Synth Engine found in Syn1, Page 1, ‘Mix’ - Data Entry (H). When first
entering USER mode the default parameter is Feedback.
Multi-mode filter cut off frequency setting. This parameter is

7 Cutoff Multi Mode Filter found in Fltr, Page 1, ‘Freq’ - Data Entry (E). When first entering
USER mode the default parameter is Reverb Send.
Multi-mode filter resonance setting. This parameter is found in

8 Resonance Multi Mode Filter Fltr, Page 1, ‘Reso’. - Data Entry (F). When first entering USER
mode the default parameter is Filter Envelope Depth.

Digitone Keys 17
NOTES
User Mode: Direct Control Parameters
While the 8 controls are pre-assigned to parameters they also can be

switched to a bank of user user defined parameters. The parameters
assigned can also be shown on the display.
Hold for 1 Second

[USER MODE]
To toggle between the user and default state.
Also press [LEFT] or [RIGHT] in the user mode menu to change state.
USER DEFAULT
1 2 3 4
5 6 7 8
Example shows default settings when menu page is open
Press
[USER MODE]
To open the user mode menu display.
When working on MIDI tracks the direct control knobs are by default set to control
CC VAL1 - VAL8. These parameters are normally found in the MIDI track
parameter set under the FLTR Page.

17 Digitone Keys
NOTES
Direct Control Parameter Assignment
User assignment of each of the 8 controls is also possible as well as the

pre-assigned default parameters. .
Press
[FUNC] + [USER MODE]
To open the user assignment menu
▌ASSIGNING PARAMETERS TO DIRECT CONTROL KNOBS
1. Press [FUNC] + [USER MODE] to open the user configuration menu.
2. Turn (LEVEL/DATA) or press [UP] or [DOWN] to scroll through the

options. Each number in the list refers to the direct control knobs.
3. Highlight the control knob to change and press [YES] to select.
4. Turn (LEVEL/DATA) or press [UP] or [DOWN] to scroll through the

options. The list shows the available parameters (parameter page
functions) that can be assigned.
5. Highlight the desired parameter and press [YES] to select and assign to
the knob selected in step 3.
6. Press [USER MODE] to exit. Selecting the USER options will then allow
control of the user assigned parameters from the knobs

Digitone Keys 17
NOTES
▌QUICK ASSIGNING PARAMETERS TO DIRECT CONTROL KNOBS
1. Press [USER ASSIGN] to open the user parameter display.
2. Press [LEFT] or [RIGHT] to select USER mode.
3. Hold [YES] + Turn (CONTROL) to assign the parameter to
4. With [YES] still held, Navigate to the desired parameter page and use
the (DATA/ENTRY) to select the parameter
5. Release [YES].
▌REMOVING PARAMETER ASSIGNMENTS FROM CONTROL KNOBS
1. Press [USER ASSIGN] to open the user parameter display.
2. Press [LEFT] or [RIGHT] to select USER mode.
3. Hold [YES] + Press (CONTROL) to delete Its parameter assignment.
4. With [YES] still held, Navigate to the desired parameter page and use
the (DATA/ENTRY) to select the parameter
5. Release [YES].

17 Digitone Keys
17.7 Multi Map Setting NOTES
Multi Map is the feature that allows mapping of various functions to defined
ranges of the keyboard. This is not unique to Digitone Keys and is available
also on the Digitone module. This feature is a particularly useful for Digitone
Keys due to the integrated keyboard. Full details of setting up Mult Maps is
found in section 13. MIDI Interfacing.
Example
Range 1 Range 2 Range 3 Range 4
INT OFF EXT PAT

bass sound used from the internal sound engines.
Notes assigned to internal sounds eg a left hand
Creates a blank zone to separate sound triggers
Notes assigned to play an external device. For

example this could be a right hand lead or
Notes set trigger defined pattern changes

from the internal and external sections.
Keyboard zones assigned to internal,

external sound options. Also possibility to
create blank zones and trigger Digitone
pattern changes from the keyboard.
external drum machine.

Digitone Keys 17
NOTES

Index
+Drive 271 Digitone Keys 311
A Direct Controls 324, 326
Algorithm 148, 154 Dual Mono 255
Amp 167, 173 E
Amp Page 174 Effects 193, 262
Architecture 19 Envelopes 160–161, 176
Arpeggiator 86 Exporting Sounds 130
Audio Routing 252 F
B Feedback 157
Bank 31 Filter 167, 169
C Filter Page 171
Carrier 15 FM Synthesis 11
Chains 94, 96 Frequency Modulation 14
Chorus 195 G
Chromatic Mode 44, 112 Global FX / Mix 258–259
Clear 55 Grid Recording 40
Conditional locks 70 H
Control All 123 Harmonics 158
Copy 55 I
D Importing Sounds 130
Delay 199 K
Detune 156 Keyboard Fold 37

Index
L N
LED Intensity 272 Naming menu 25
Length 33 Note Probability 70
Levels 118 Note Trigs 39
LFO 179, 185–186 O
LFO Page 180 Operator 15, 17, 160
Live Recording 44 Overbridge 276, 278
Loading Sounds 127 Overdrive 206
Lock Trigs 66 Overview 5, 312
M P
Master Page 253 Parameter 24
Metronome 35 Paste 55
MIDI 64, 209, 223, 251, 267 Pattern 29, 31, 52, 61, 82
MIDI Ext 322 Pitch Wheel 317
MIDI Modulation 232 Portamento 79
MIDI Tracks 111, 215 Project 27
Mix 163 Project Management 26
Mixer 253–255 Q
Mod Wheel 317 Quick Reference 280, 282
Modulator 15 R
Multi Map 236, 244, 321, 328 Randomise 207
Mute Modes 59, 114 Ratios 154

Index
Remember Subpage 273 U
Reverb 203 Unison 122
S USB 213, 286
Scale 33 V
Song 99, 101 Voice Options 119
Song Mode 96
Sound Browser 127
Sound Lock 69
Sound Management 125, 132
Sound Setup 138
Sounds 143
Step Recording 45
Stereo 254
SYN Page 144
Synth Tracks 110
Tempo 35
Track Notes 37, 41
Tracks 107
Transpose 113
Trig Page 62

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Version 1.3 October 22 - Digitone OS 1.40
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Digitone Notebook 1v40

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Digitone Notebook 1v40

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A Guidebook

Featuring Digitone and Digitone Keys

An Unofficial Reference for OS

Sound Management 125

Synth Sound Design 141

Filter and Amp 167

MIDI Setup 209

MIDI Interfacing 223

Audio Input & Output 251

Digitone Keys 311

The Digitone Notebook : Reference & Guide III

The Digitone Notebook : Reference & Guide 5

Some keys are represented by a symbol on Digitone for the specific

[SONG] Song Mode

[SETTINGS] Global Settings Menu

6 The Digitone Notebook : Reference & Guide

The Digitone module also has M4 Vesa mount holes

The Digitone Notebook : Reference & Guide 7

Rear I/O Connections: MIDI, Audio inputs and

Sequencer transport modes & controls

[REC] Grid recording mode on/off

[PLAY] Starts the sequencer running.

[FUNC] + [REC] for Copy function

Secondary Function Pattern Select

MIDI Bank Select

8 The Digitone Notebook : Reference & Guide

The parameter keys also give access to MIDI configuration

The Digitone Notebook : Reference & Guide 9

10 The Digitone Notebook : Reference & Guide

The Digitone Notebook : Reference & Guide 11

Let’s start at the very beginning. Audio is generated as a series of waves

A Basic Audio Wave

Frequency is measured in Hertz (Hz) meaning the number of cycles per

12 The Digitone Notebook : Reference & Guide

Harmonics and are defined at specific multiples of the fundamental

SINE WAVE SQUARE WAVE SAW WAVE

Modulation is the term given to affecting a function or parameter with

Low Frequency Oscillator Filter Cutoff

Guitar Whammy Bar Guitar Strings

Volume Control Amplifier Output

Envelope Reverb Amount

The Digitone Notebook : Reference & Guide 13

Modulating (changing) the frequency of an audio source will have an effect

The change in level of the

Frequency modulation is often called FM and will be used throughout this

14 The Digitone Notebook : Reference & Guide

• As well as simply changing the frequency, the harmonics application is

• FM Synthesis often can apply more than a one-to-one relationship. A

• The maths of harmonic relationships may be interesting to analysts, but

Algorithm: The configuration and routing of a series of waveforms that

The Digitone Notebook : Reference & Guide 15

To visualise the terminology and roles of the key functions involved in FM

Audio level (fast) modulation to control

16 The Digitone Notebook : Reference & Guide

4 Operators Operator B Operator D

Operator F Operator A Operator C

The Digitone Notebook : Reference & Guide 17

18 The Digitone Notebook : Reference & Guide

The Digitone Notebook : Reference & Guide 19

20 The Digitone Notebook : Reference & Guide