Four instruments · one performance

Quad mode

Divide Move’s grid into four eight-pad instruments. Each plays one stereo source lane with two voices, its own engine, parameters, keyboard, envelope, and private effects.

Start a Quad performance

1. Hold Capture and press Menu → Instrument Mode → Quad → click to apply. Stop audio and performance recording before changing mode.
2. Press Track 1–4 to focus A–D and select its recording/loading/editing lane. Shift + Track opens that lane’s sample browser.
3. Play the matching pad quadrant. Press Capture to cycle editing focus through A, B, C, and D. Playing a different quadrant keeps the current edit focus.
4. Use waveform knob 8, LEVL, for that part’s level. Capture + knob 8 reaches the same level from another page. Outside the clip and chain editors, Copy returns to Single and back to the last chosen multi-instrument mode.

Named-scale roots are brighter than the idle colors. Active voices, latches, Cues, and Rolls retain their status colors. Pads follow Move’s bottom-left-to-top-right hardware ordering; see the Schwung control reference.

Waveforms and controls

Rows 1–4 show A–D’s source lanes. Each has its own Position/Field zoom, responsive while playing. A cursor spans only its instrument’s row. The hollow marker identifies its source position. The inverted part letter in the heading and inverted lane number identify editing focus. Each letter’s number is its active source-voice count, including release tails; the small bar underneath shows post-level activity. The right-hand abbreviation identifies the focused engine.

Menu opens the focused part’s parameter pages. Each engine keeps its own settings. Stack Path and controls that only choose between lanes are omitted. Reserved cells leave room for future controls. Loop has no lane-scan role in Quad. With Tape INRT above Off, it holds/resumes the Tape wet transport. Shift + Loop retains Glitch’s buffer gesture when that engine is focused.

Morph: each part uses its own lane and the next lane as a spectral partner: A 1 → 2, B 2 → 3, C 3 → 4, D 4 → 1. Read the Morph guide for amplitude/frequency controls and preparation.

Levels, mutes, and effects

Quad layers four instruments with independent levels; it does not use A/B Blend. Each part enters the sum with 6 dB of headroom. LEVL 1.00 is the normal starting point. The shared program compressor and limiter remain after the effects.

Mute fades the focused part without stopping its playheads. Part-mode sample preview follows that lane’s part level and mute; Direct preview bypasses the part mixer. Capture + Menu → Quad Mix Status shows all four parts’ meters, counts, and silence reasons.

Hold Capture and press Menu, choose FX SENDS, then click the main encoder. Its top row sets A and B sends; its bottom row sets C and D sends. Click the main encoder for FX Pages. Each part keeps its own Color and Stereo / Rotary inserts. Delay and Reverb are shared parallel sends; Tape processes the shared chain according to FX Order.

DRTN is knob 8 on Delay Return. RRTN is knob 8 on Reverb. Raise the matching return as well as the part’s send to hear an effect. Return settings have one location each. Moving Tape in FX Order changes which returns it processes; Delay and Reverb remain parallel.

Keyboard, Cues, and Rolls

Keys and named scales use a local four-column, two-row keyboard per part. Up/Down changes only the focused part’s octave. Shift + pad latches a note; its stored pitch survives octave changes. With two voice slots, a third note or long release can steal that part’s older voice through the usual fade, without taking another instrument’s voice.

Slices uses eight slice pads per part. Cues uses the two leftmost pads in each quadrant’s lower row: Shift stores, Delete clears, and a normal press triggers. Each part has two Cues. Rolls captures that part’s active stereo playheads and uses the eight pads’ divisions; its captures do not contain the other three instruments.

Recording and recall

Performance Record captures all four instruments together, including notes already held, pressure, engine settings, insert changes, sends, and levels. Replace, Overdub, take undo, clip banks, and chaining work as described in Performance. Each clip stores its four programs and four source assignments. Tempo, transport, input source, monitoring, and audio recording remain shared; record into one selected lane at a time.

Audio recorded into a lane becomes that part’s latest source. Loading, clearing, or editing it affects only that lane. The one-level Undo key and Delete + Record take undo retain their usual roles.

Quad Setup

Single keeps its own sound settings. A/B programs are shared between the multi-instrument layouts; C/D settings and recorded notes remain stored when you switch to a two-part mode; those notes are silent in the two-part layouts and become available again in Quad. Export a set backup before upgrading. The current bank format requires s3g Thru 0.29.0 or newer; keep an older export if you plan to downgrade. The total source-voice budget remains eight, and all four instruments and effects share Move’s processor.

PERF LOOP and Overdub Takes are shared pages for the combined performance. Changing edit focus does not create a separate recorder. Per-part Pressure is on Pads & Scale, knob 6; Quad reserves it. See Performance Loop controls.

External MIDI

Musical MIDI channels 1–4 address A–D. Notes, pressure and note-offs follow those channels without changing editing focus. In the next-release NRPN map, channels 5–8 control A–D parameters and channel 16 controls shared functions. On the E16 Remote Engine page, hold Shift and press encoder 1 to switch A/B ↔ C/D. Hold E16 Shift and turn encoder 1 to change its engine and effect pages. See MIDI control for the current parameter map and feedback.