Sound layer

Playback engines

Fifteen engines reinterpret the same four stereo lanes. Start here to compare them, then open an engine guide for every parameter, option, range, and interaction on its contextual pages.

Engine page with algorithm and seven shared playback controls — Press `Menu` to open Engine. Knobs 1–4 follow the top row; knobs 5–8 follow the bottom row. Up/Down then moves through only the pages used by the selected Algorithm.

The title-row fraction shows the current parameter page and the number available for the selected engine. The examples describe Single mode; dual modes add setup and sends pages, while Quad omits stack controls and uses its own sends and setup. The total also changes with the engine: Sample has the shortest set, while Grains and the extended Motion modes have more contextual pages. The screen examples therefore show the correct fraction for the engine used in each figure rather than one global page count.

Instrument modes: Single, Split, Shared Dual, and Quad use different lane layouts and voice budgets. Compare the modes and choose a layout before following the controls below.

Choose an engine

Motion

Eight trajectories with continuous, packet, motor, and five bounded segment sounds.

Stack Path + 2–4 contextual pages · 20–22 total

Lanes

Continuous playback shaped by a programmable path through the four-lane stack.

Stack Path + 1 unique page · 19 total

Grains

Layered grain clouds with source, variation, timing, energy sorting, and quality control.

Stack Path + 3 unique pages · 21 total

Cutups

Clocked region events with ordered, random, walk, or non-repeating shuffled cycles.

2 unique pages · 19 total

Sample

Direct one-shot, loop, reverse, or ping-pong playback from one discrete lane.

Shared Direct Play page · 18 total

Slices

Pad-addressed equal or transient regions with direct playback and lane variation.

Direct Play + 1 unique page · 19 total

Glitch

Per-voice repeat buffers interrupted by rotating pulse patterns and seeded transformations.

Stack Path + 2 unique pages · 20 total

Weave

A long-grain approach using one to four sustained layers with independent position, duration, pitch, envelope, and stereo placement.

Stack Path + 2 unique pages · 20 total

Wavesets

Measured zero-crossing cycles become pitched groups with repeat, stride, ordering, and real-time transformations.

Stack Path + 1 unique page · 19 total

Prism

Spectral frames become a playable instrument. Scan the recording, sustain a selected frame, hold only its amplitudes or frequencies, or accumulate a slowly changing spectral memory.

Stack Path + 1 unique page · 19 total

Morph

Blend the spectral amplitudes and frequencies of a source with those of the next lane, or use Imprint for envelope-driven articulation. The two controls move independently, making hybrid sounds that go beyond a volume crossfade.

Stack Path + 1 unique page · 19 total

Texture

A held note becomes a small sample phrase: scattered events, grouped bursts, repeated pitch contours, or ornaments. Each note keeps its own source path and a bounded set of overlapping stereo events.

Stack Path + 1 unique page · 19 total

Formant

Play pitch-synchronous sample grains with keyboard pitch and resonant character controlled independently.

Stack Path + 1 unique page · 19 total

Stochastic

Evolving timing and gain deformations keep recorded audio moving through bounded random walks.

Stack Path + 1 unique page · 19 total

Pulsar

Windowed sample fragments form pitched pulse trains, with independent pulse duration, omission, burst groups and timing jitter, modulation, scatter and reverse probability.

Stack Path + 2 unique pages

Page totals describe Single mode with a named Stack Path. Selecting Draw adds the Path Editor page for engines that use Stack Path.

The shared Engine page

Knob	Display	Range	What it controls
1	ALG	15 choices	Algorithm selects Motion, Lanes, Grains, Cutups, Sample, Slices, Glitch, Weave, Wavesets, Prism, Morph, Texture, Formant, Stochastic, or Pulsar. Up/Down then shows the pages for that engine.
2	POS	0.00–1.00	Position centers the active source window. Near either end, the window is clamped so it never extends beyond the sample.
3	FLD	0.02–1.00	Field sets the active window width as a fraction of the sample. See Waveform zoom. Single zooms all four lanes together; Split gives each part its own window. Shared Dual zooms all four lanes to the focused instrument’s POS/FLD, including during playback; the other side does not widen that view.
4	SPD	0.05–4.00×	Speed sets base source transport. In Grains and Weave it moves grain origins independently of keyboard pitch; the other engines, including Wavesets, combine it with note pitch as described in their guides.
5	STAK / LANE	1.00–4.00 Single / Shared; 1.00–2.00 Split; reserved in Quad	Stack Start sets an exact lane/crossfade for Manual stack motion, or the starting phase of a moving stack path. Cutups labels this knob LANE and selects a physical starting lane, adopted at the next cut. Sample and Slices round it to a discrete loaded lane.
6	RATE / ADV	0.125–16 Hz; Cutups Hold / 1 / 2 / 3 / 4 / 8 / 16 cuts	Scan Rate sets cycles per second for moving stack paths. `Loop` freezes the audible phase. Cutups replaces this knob with ADV: Hold or 1/2/3/4/8/16 cuts per lane. Sample and Slices do not use continuous stack scanning.
7	JOIN	0.00–1.00	Join scales seam smoothing for continuous/event readers and the Sample engine's Loop boundary. Motion also uses it as articulation depth. Cutups has a separate Cut Join for event-to-event fades. At zero, a very short internal safety transition remains to prevent a one-sample edge.
8	LEVL	0.00–2.00	Level sets instrument output gain before the program compressor and safety limiter. At 1.00, the mastering stage supplies a full nominal output; values above 1.00 push it harder. Pad velocity never attenuates playback. In either dual mode, Engine-page knob 8 controls the focused part’s level; waveform knob 8 controls Blend.

One control, one location: a parameter appears on only one parameter page. Shared pages retain the same knob positions wherever they appear. A small hollow box marks an unassigned encoder position reserved for a future control; turning that encoder does nothing.

Shared Pads & Scale page

This page follows Engine for every playback algorithm. It chooses what the 32 pads do and, in Keys mode, whether they use the original chromatic layout or a folded scale layout.

Shared Pads and Scale page with Pad Mode, Root, Scale, Hold Off, Poly Comp, Pressure, Engine List controls, and pressure depth in ONE mode — Named scales illuminate the playable grid dark neutral grey and mark every tonic pad full white. Active voices use their voice-slot colors; a latch turns to the matching dim color when its stored pitch is outside the current pad mapping.

Knob	Display	Range	What it controls
1	PADS	Keys / Slices / Cues / Rolls	Chooses how the 32 pads address pitches, regions, stored positions, or clocked rolls.
2	ROOT	C1–C7	Sets sample unison and the tonic of a named scale. Slices play this pitch; Rolls retain the pitches already present in their grouped capture. In a named Keys scale, the bottom-left pad begins one octave below Root before octave transposition.
3	SCAL	Chromatic + 24 scales	Chromatic preserves the original semitone grid. A named scale removes out-of-scale pitches and maps adjacent columns to consecutive scale degrees.
4	HOLD	Manual / 50 ms–60 s	Keeps Shift+pad latches active until toggled, or schedules their release with one delay per instrument: shared across Single, independent for A and B in either dual mode.
5	POLY	Off / On	Polyphony Compensation smoothly controls summed energy as simultaneous source voices and Rolls increase. One voice remains unchanged. Turn it off only when intentional additive buildup is part of the sound.
6	PRES	Off / Offset / Brake / Char / Both	Pressure behavior for each note: stack offset, temporary scan braking, engine character, or offset and character together. Quad offers Off and Char. See Pressure expression.
7	ENGS	One / List	Engine assignment: One uses one algorithm for the part. List selects each new note’s engine from the saved entries using the assignment chosen on Voice Setup.
8	ORDR / DPTH	6 orders / 0–100%	List order in Touch assignment: Up, Down, Rand, Cycle Up, Cycle Down or Shuffle. With ENGS One, this cell sets pressure depth when pressure is enabled. With a keyboard assignment, order is reserved. In List mode, depth appears on Voice Setup.

Storing a cue also remembers the owning part's latest playhead lane/blend. Recall holds that blend and aligns the Stack Start value with it. Turn Stack Start to move the held blend; this leaves the stored cue unchanged. Loop resumes the scan. Delete + cue pad clears it. Cues saved by older releases remain time-only until stored again.

Named scales retain an overlapping isomorphic shape: each row begins three scale degrees above the row below. Up/Down moves the complete layout by octaves. Scale affects the Move pads only; external MIDI and notes already stored in a performance clip are not quantized or rewritten.

Engine List: different engines in one chord

On Pads & Scale, set ENGS to LIST. The Voice Engines and Voice Setup pages appear immediately after it. Each encoder assigns an algorithm to one entry: eight in Single, four per part in Split or Shared Dual, and two per part in Quad. Unavailable entries show reserved boxes. Each part keeps its own list and order.

Eight engine entries with E2 selected for editing — Knobs 1–8 assign algorithms. Turn the main encoder to select an entry; its label is underlined. Click to open its engine controls. Back returns to the list.

Knob	Display	Range	What it controls
1–8	E1–E8	13 engines	Algorithm for that list entry. Only entries within the part's voice budget are available.
Main encoder	Underline	Available entries	Turn to choose the entry whose engine pages you want to edit; click to open them. Their titles show E1, E2, and so on.

UP chooses the lowest free entry; DOWN chooses the highest. RAND chooses uniformly among the currently free entries. With all four entries free, Grains, Grains, Sample, Weave gives Grains a 50% chance and each other engine 25%. Holding a note removes its entry from subsequent Touch choices until note-off. Keyboard assignments can give more than one note the same entry.

Each note keeps its assigned engine through its release, even if you edit that entry. Note-off makes the list entry available again while its old tail continues where voice capacity permits. The total remains eight source voices: four per part in either dual mode or two per part in Quad. Normal voice stealing and its fade safeguards still apply. Rolls capture the active audio rather than choosing a new source engine.

Click into an entry to use the existing engine pages. Changing ALG there changes that entry. Entries using the same engine share that part's engine-specific controls. Voice Setup adds four independent offsets for each entry; these are captured by new notes, rather than changing notes already sounding. Position, Field, stack controls, envelope, scale, sources and effects also remain shared within the part. The waveform header shows LIST or LST, and each playhead uses its actual engine's cursor behavior. Playhead LED colors continue to identify physical voices.

Lists, order and selected edit entry save with clips and follow part/clip copies. Performance recording stores the resolved engine, list entry and four entry offsets of each note, including notes held before recording starts. RAND therefore replays the captured choices. Changing a list does not rewrite recorded note assignments; record a new performance to capture a different distribution. Returning ENGS to ONE applies the edited algorithm to new live notes; already active notes retain their assignments.

Use Move to set up the list. ALG on the E16 Remote Engine page edits the selected entry's algorithm for each part. E16’s engine-specific pages edit the selected entry’s parameters. For a custom controller, use the Engine List NRPN addresses.

Play engines by keyboard position

Degree and Register assignment give notes consistent engine roles. Assignment follows note pitch, so overlapping pads that play the same note select the same entry. Each part can use its own assignment.

In a multi-part mode, tap Capture to focus the part you want to set up. Press Menu and open Pads & Scale.
Set knob 1, PADS, to KEYS, and knob 7, ENGS, to LIST. Choose Root and Scale with knobs 2 and 3.
Open the next page, Voice Engines. Assign an engine to each available entry with its corresponding knob: eight entries in Single, four per part in either dual mode, or two per part in Quad.
Open Voice Setup. Turn knob 2, ASSN, to DEGR or REG.
Press Menu to return to the waveform and play. The same note selects the same entry regardless of playing order or which other notes are held.

DEGR — scale degree: with C Major in Single mode, C selects E1, D selects E2, E selects E3, and so on through B at E7. C in another octave returns to E1. Assign Sample to E1, Grains to E2 and Weave to E3 to hear the first three degrees use those engines. When a part has fewer entries than scale degrees, the mapping wraps through its available entries.

REG — register: the part’s current keyboard pitch range is divided into bands across its available entries. Lower notes select earlier entries and higher notes select later entries. The bands follow the keyboard octave and scale layout. Incoming MIDI notes beyond that range select its first or last entry.

Several notes can use the same entry while keeping separate playheads within the part’s voice budget. ORDR becomes reserved during Degree or Register assignment. Choose TOUCH on Voice Setup to use Up, Down, Random, Cycle or Shuffle again. Use EDIT on Voice Setup to choose an entry before adjusting its octave, source start, stack offset or pan; those offsets apply after engine assignment.

Orders and keyboard assignment

Knob	Display	Range	What it controls
Pads & Scale 8	ORDR	UP / DOWN	Choose the lowest or highest free list entry for each new note. Playing one note at a time normally reuses the same entry.
Pads & Scale 8	ORDR	RAND	Choose uniformly among free entries. Repeated algorithms increase their chance of selection.
Pads & Scale 8	ORDR	CYC+ / CYC-	Cycle Up or Down: continue to the next free entry on every new note. A single-note phrase travels through the list. Held entries are skipped.
Pads & Scale 8	ORDR	SHUF	Shuffle the available entries, visiting each before another pass. Held entries are unavailable; if all remaining entries are held, a new pass starts among the free ones. Repeated algorithms remain separate entries.
Voice Setup 2	ASSN	TOUCH	Use ORDR to assign each note. Traversal is independent for each part and restarts on clip recall or an instrument-mode change.
Voice Setup 2	ASSN	DEGR	Degree: map scale degrees to entries, starting at E1 for the root and wrapping when there are more degrees than entries. The same degree uses the same entry in every octave. Chromatic uses twelve semitone degrees. Out-of-scale MIDI notes choose the nearest degree for engine assignment while retaining their original pitch.
Voice Setup 2	ASSN	REG	Register: divide the current part's keyboard pitch range into equal-width note bands. Low bands use lower entries, high bands use higher entries. Root, Scale and keyboard octave determine that range; external notes beyond it use the end entries.

Degree and Register use the incoming note before its entry octave offset. They do not depend on which other keys are held; several simultaneous notes may use the same entry. They are intended for Keys playing or pitched MIDI input. Pad modes that use one fixed note also select one fixed keyboard entry. ORDR is reserved while a keyboard assignment is selected.

Voice Setup: entry variations

Entry 2 setup with assignment, octave, source offset, stack offset, pan and pressure depth — Turn the main encoder or knob 1 to select an entry. Click the main encoder to open its engine pages; Back returns here. Knobs 3–6 belong to the selected entry. ASSN and DPTH belong to the whole part.

Knob	Display	Range	What it controls
1	EDIT	Available entries	Entry selected for variation and engine editing.
2	ASSN	Touch / Degree / Register	How incoming notes select entries; see the table above.
3	OCTV	−2 to +2	Octave offset added to keyboard pitch before the engine's normal pitch limits. This does not change which entry Degree or Register selects.
4	SPOS	−100 to +100%	Source launch offset through the selected playback region or path. Negative values wrap backward; a full turn returns to the starting phase. It works with a full-width Field and leaves POS/FLD unchanged. Grain modes apply it to their source origins; Cutups starts later in its region-order cycle. An explicit frozen source can retain its captured position.
5	STAK	−100 to +100%	Stack phase offset for scanning engines. Cutups applies a bounded lane-selection offset; Sample and Slices shift their chosen loaded lane within the part. Reserved in Quad, which has one lane per part.
6	PAN	−100 to +100%	Place the entry toward left or right. Centre preserves the original stereo image; either extreme folds both channels to that side without adding gain.
7	DPTH	0–100%	Pressure depth for the part, shared by all entries. Scales Offset and Character; in Brake it adjusts the pressure needed to catch the scan.
8	Reserved	—	Available for a future control.

Changing OCTV, SPOS, STAK or PAN affects new notes. Existing notes keep their launch values through release, and recorded notes keep the values captured during their performance. A useful starting point is two entries of the same engine with different octaves, start phases and pan positions. No extra source voices or per-entry effects are added.

Pressure expression

Choose PRES on Pads & Scale. Pressure affects each pressed note independently and never uses strike velocity as a volume control. DPTH is on that page in One mode, or on Voice Setup in List mode. Choose pressure mode and depth before recording: they save with the clip as setup, while the pressure gestures themselves are recorded.

Character and Voice Setup: PRES chooses the pressure behavior for the whole part. With CHAR selected, every pressed note uses its assigned engine’s character treatment. Voice Setup’s EDIT selection chooses the entry whose settings you are editing; pressure expression follows each played note. DPTH sets the strength for all notes in that part.

Display	What it controls
OFF	Ignore pressure expression.
OFFSET	The existing pressure offset through the stack, scaled by DPTH.
BRAKE	Keep a note pad held and increase pressure to catch its current lane or between-lane blend. Relax pressure to resume scanning from the caught point. The audio playhead keeps moving, and other notes keep their own scans. Higher DPTH makes the catch easier. Loop holds the whole part’s scan.
CHAR	Apply the engine character treatment below, with a short smoothing time. Each voice responds separately.
BOTH	Combine Offset and Character with the same pressure gesture.

Engine	Character treatment
Grains	Increase grain density, up to the normal density and grain-voice limits.
Weave	Widen grain stereo spread toward its maximum.
Prism	Increase spectral smear.
Morph	Increase amplitude-envelope blending or Imprint amount, according to its mode.
Texture	Increase event scatter.
Pulsar	Raise FORM for a shorter, more compressed pulsaret.
Stochastic	Increase amplitude and timing mutation toward their maximum for that note.
Formant	Raise formant shift by up to one octave, within the existing shift limits; keyboard pitch stays separate.
Motion, Lanes, Cutups, Sample, Slices, Glitch, Wavesets	Darken that voice with a smooth low-pass color. This avoids repeatedly changing discrete reader settings.

Character is per-voice modulation: engine pages and MIDI feedback continue to show the saved base settings. Quad offers OFF and CHAR because its parts do not have a multi-lane scan to offset or brake. Move polyphonic pressure and external MIDI polyphonic aftertouch are supported. The recorder includes pressure already held when recording starts and captures later MIDI pressure by note and part. Recorded engine choices and entry offsets remain fixed; pressure continues to shape each replayed voice.

Shared Amp Envelope page

Amp Envelope follows Pads & Scale, or Voice Engines when LIST is enabled, for every playback algorithm. It shapes the amplitude of each of the eight source voices independently after that voice's playback engine. Pad velocity does not change amplitude.

Breakpoint Amp Envelope page showing attack, decay, sustain, gate boundary, and release — The solid breakpoint curve shows attack, decay, and the held sustain level. The dotted vertical line marks note-off; the final slope is release.

Knob	Display	Range	What it controls
1	ATK	0 ms–10 s	Attack time from silence or the current retrigger level to full amplitude.
2	DEC	0 ms–10 s	Decay time from the attack peak to Sustain. Values below 1 ms retain a 1 ms safety ramp when Sustain is below the attack peak.
3	SUS	0–100%	Sustain level held while the pad, latch, or recorded note remains on.
4	REL	0 ms–20 s	Release time from the current level to silence after note-off. The 0 ms setting retains a transparent 3 ms safety taper.
5–8	Reserved	—	Inactive positions available for future envelope controls.

The time knobs use close-spaced millisecond values near zero and progressively wider steps for long fades. The default 3 ms attack, 0 ms decay, 100% sustain, and 25 ms release preserves the earlier immediate pad response while suppressing clicks. Replaying a note during a long release leaves its old tail on a separate voice when capacity permits; when the available voices are occupied (eight in Single, four per part in Split), the reused voice fades out before its reader restarts. Envelope gestures recorded into a performance clip replay with that clip. Rolls use a captured, already-enveloped stereo fragment and retain their separate short edge crossfade; the Amp Envelope is not applied a second time.

Pad mode behavior

Mode	What the pads do	Hold behavior
Keys	Play the chromatic or selected-scale pitch layout. With the Slices engine, pad identity also selects a region.	Momentary; Shift + pad latches the voice.
Slices	Select regions by pad identity at Root pitch. Use with the Slices engine for one-region-per-pad playback.	Momentary; Shift + pad latches the region.
Cues	Single uses its bottom eight pads; dual modes use the bottom four per side; Quad uses the leftmost two pads in each quadrant’s lower row. Shift + pad stores the displayed playhead; Delete + pad clears it.	Storage moves to the safest stereo zero crossing within 10 ms on the selected lane. Recall starts a Root voice when none is active, or moves active voices through a short click-free transition.
Rolls	Pad-down captures the combined stereo history of every active playhead, then stutters that fragment at 1/4, 1/8, 1/8T, 1/16, 1/16T, or 1/32. The six-division order repeats across the grid.	Momentary; Shift + pad latches the grouped roll. Each simultaneous roll retains its own capture.

For a hands-on grouped roll, latch a chord in Keys, change PADS to Rolls, and press a division pad. The latched source voices remain active through the mode change and become the roll's combined capture.

Roll fragment length follows its division and the BPM at capture. The original playheads continue advancing silently while a roll is active, so releasing it returns to the live performance rather than a frozen source position. A 3 ms internal crossfade suppresses boundary clicks, and grouped rolls do not consume or steal any of the eight source voices. Performance recording stores the pad gesture and division; on replay, that event captures the active playhead group at the recorded moment.

Scale choices

The names and pitch sets follow the 12-tone Live and Push scale menu.

Scale	Scale	Scale
Major	Minor	Dorian
Mixolydian	Lydian	Phrygian
Locrian	Whole Tone	Half-whole Dim.
Whole-half Dim.	Minor Blues	Minor Pentatonic
Major Pentatonic	Harmonic Minor	Harmonic Major
Dorian #4	Phrygian Dominant	Melodic Minor
Lydian Augmented	Lydian Dominant	Super Locrian
8-Tone Spanish	Bhairav	Hungarian Minor

Shared Stack Path page

Motion, Lanes, Grains, Glitch, Weave, and Wavesets all use this same page to shape movement through all four lanes in Single and Shared Dual, or the focused pair in Split. Stack Start and Scan Rate remain on Engine and are not repeated here. Quad omits this page because each part owns one lane. Its discrete VARI control also stays on that assigned source.

Knob	Display	Range	What it controls
1	PATH	15 choices	Chooses Down, Up, Triangle, Sine, Steps Down, Steps Up, Manual, Random, or an editable Draw route through the stack.
2	BLND	Crossfade / Jump	Crossfade blends adjacent loaded lanes; Jump selects the nearer loaded lane.
3	SHAP	Linear / Smooth / Exponential / Plateau	Changes the contour of the path before it becomes a lane position.
4	OFST	0.00–1.00	Rotates the path through one complete cycle without changing Scan Rate.
5	SKEW	0.02–0.98	Moves the path's halfway point earlier or later in the cycle.
6	CURV	−1.00–1.00	Bends travel toward a faster start or a faster finish.
7	SLEW	0–500 ms	Softens abrupt lane-weight changes, especially with Jump and stepped paths.
8	Reserved	—	Inactive and available for a future Stack Path control.

Editable stack paths

On Stack Path, turn PATH to DRAW, then click the main encoder to open Path Editor. You can also reach it as the next parameter page or through Capture + Menu. It appears only while DRAW is selected.

Stack Path with DRAW selected and named-shape controls reserved — DRAW uses your points and segment curves. SHAP, SKEW, and the named-path CURV are reserved. BLND, OFST, and SLEW still apply.

Six-point stack path with pauses, uneven travel, a selected breakpoint, and editing controls — Time runs left to right; lane numbers run top to bottom. The outlined point is selected. The final segment returns to the first point at the end of the cycle.

Knob	Display	Range	What it controls
1	PT	1–point count	Selected breakpoint. Its time, lane, and outgoing curve appear under knobs 2–4.
2	TIME	0–99%	Point time within one cycle. The first point stays at 0%. Other points stay ordered, at least 1% apart.
3	LANE	1.00–4.00, or the owning pair	Lane position, including blends. Split B shows physical lanes 3–4. Repeated lane values at adjacent points make a pause.
4	CURV	−100–100	Curve from this point to the next. Zero is linear; positive values start slowly and accelerate; negative values start quickly and slow down. The last point controls the return to the first.
5	PNTS	4–8	Point count. Turning up inserts after the selected point while preserving the existing curve. Turning down removes the selected point; if the first point is selected, it removes the last instead.
6–7	Reserved	—	Inactive positions, shown by hollow boxes.
8	RSET	Shift + turn clockwise	Restore the four-point triangle. The curved-arrow Undo key can restore the previous edit.

To make a pause, give two adjacent points the same LANE value and separate their TIME values. Playback continues within the held lane. To revisit a layer, use its LANE value again later. Uneven times change travel speed between visits. If a segment is too short to add another point, choose a different point or move its neighbors apart.

Scan Rate on Engine or the waveform page sets the cycle speed; point times are percentages of that cycle. OFST rotates the route. SLEW smooths audible transitions, so very short pauses at a fast rate may be softened. Back returns to Stack Path.

All voices in a part use the same authored shape with their own existing phases. Editing the shape keeps those phases running. Motion packets, Grains, and Weave follow live edits without restarting their events. Glitch reads new source positions when its buffer refreshes. Loop freezes travel; recalled cues and Capture lane grabs retain their explicit lane positions until released.

Paths are stored per clip and per part. Single uses four lanes; Shared Dual has independent A/B paths over all four; Split maps each path across its owning pair. Quad, Sample, Slices, and Cutups do not show this editor. Switching to a named path leaves the authored points available when you return to DRAW.

Record captures point and curve edits as performance data. Replace and Overdub keep their usual behavior, and Undo Take removes the path edits made in that take.

Shared Direct Play page

Sample and Slices use this same page for playback direction and discrete lane selection. Pad behavior is on the shared Pads & Scale page. Position, Field, Speed, Stack Start, and Level remain on Engine.

Knob	Display	Range	What it controls
1	PLAY	Forward / Reverse / Loop / Ping Pong	Chooses direction and whether the window or slice stops or repeats.
2	VARI	Manual / Cycle / Random / No Repeat / Velocity	Selects a discrete lane whenever a voice begins.
3–8	Reserved	—	Inactive positions available for future direct-play controls.

At a glance

Engine	Source motion	Lane behavior	Best starting use
Motion	Continuous trajectory or bounded segment events inside Field	Continuous stack path per voice; event layers capture the blend at launch	Gestural loops, reversals, packet/motor rhythms, freeze, iterate, pulse, and bounce structures
Lanes	Forward, reverse, or ping-pong	Deeply shaped continuous or stepped stack path	Morphing four related recordings as one instrument
Grains	Scan, freeze, cloud, slice, or energy-sorted origins	Lane blend captured when each grain begins	Textures, freezes, clouds, energy ordering, pointillism, and rhythmic grain processes
Cutups	Clocked equal/transient regions, including shuffled non-repeating cycles	One discrete lane per cut	Tempo structures, chopped phrases, and divergent polyphonic patterns
Sample	Direct whole-window playback	One discrete lane per note	Conventional pitched sampling and lane variation
Slices	Pad-addressed equal/transient region	One discrete lane per note	Transient playing, region performance, and chromatic slice hybrids
Glitch	Continuous source plus clocked recent-history replacement	Continuous stack path and private history per voice	Stutters, asymmetric pulse cycles, shrinking loops, and repeatable disruption
Weave	A long-grain approach: 250 ms–12 s layers with scan, freeze, cloud, or slice origins	Lane blend captured independently by each of up to four layers per note	Long overlaps, stretched phrases, evolving beds, and slow stereo separation
Wavesets	Measured zero-crossing cycles grouped, repeated, reordered, and transformed	Independent cycle readers crossfade between neighboring lanes	Pitched source extraction, microscopic loops, cycle rearrangement, and evolving oscillator-like tones
Prism	Spectral frames become a playable instrument. Scan the recording, sustain a selected frame, hold only its amplitudes or frequencies, or accumulate a slowly changing spectral memory.	Independent stack paths per played note	Sustained tones from short recordings, spectral drones, softened sample travel, and playable freezes.
Morph	Blend the spectral amplitudes and frequencies of a source with those of the next lane. The two controls move independently, making hybrid sounds that go beyond a volume crossfade.	Spectral stack blending with next-lane partners	Hybrid voices, moving spectral colors, independent amplitude and frequency transformations, and a circular four-lane instrument in Quad.
Texture	A held note becomes a small sample phrase: scattered events, grouped bursts, repeated pitch contours, or ornaments. Each note keeps its own source path and a bounded set of overlapping stereo events.	Independent stack paths per played note	Playable sample textures, generated motifs, scattered layers, and short ornamental phrases.
Formant	Pitch-synchronous sampling with independent pitch and formant shift	Each lane follows its own detected periods	Playable voices, vowels, reeds, and monophonic recordings

What every engine shares

Single shares eight voices across the clip’s four lanes. Split gives each instrument four voices across its own two lanes; Shared Dual gives each four voices across the same four sources, using the same or different engines with independent settings. Quad gives each of four parts one lane and two voices. Each voice has its own pitch, read position, release, and physical pad assignment. Motion, Lanes, Grains, Glitch, Weave, and Wavesets also give every voice its own movement through the stack; Cutups advances each voice’s discrete lane after a chosen number of cuts. Sample and Slices choose discrete lanes.

After the engine’s contextual pages, the shared pages appear in this order:

Mode	Page order
Single	Mix / Rec → Effects → Stereo / Rotary → Tape → Reverb → FX Order → Sample Edit → Performance Loop → Overdub Takes → Chain.
Split / Shared Dual	FX Sends → Dual Setup → Mix / Rec → Part Color → Stereo / Rotary → Delay Return → Tape → Reverb → FX Order → Sample Edit → Performance Loop → Overdub Takes → Chain.
Quad	FX Sends → Quad Setup → Mix / Rec → Part Color → Stereo / Rotary → Delay Return → Tape → Reverb → FX Order → Sample Edit → Performance Loop → Overdub Takes → Chain.

Mix / Rec shows two lane gains for the focused part in Split, all four in Shared Dual, or its one lane gain in Quad. Its inserts are independent; shared effects are marked FX. Capture + Menu → FX SENDS and the FX Pages menu provide a direct route to effects without stepping through every page.