Related Manuals for Elektron Monomachine SFX-6
Summary of Contents for Elektron Monomachine SFX-6
- Page 1 Tips for Using the Monomachine (Using Information from the Elektron-Users Forum) Compiled by tIB...
- Page 2 Apologies for not listing names, it proved to be too time consuming. If you have any suggestions for things that are missing, have spotted any glaring mistakes or you have something you would like to add then PM me at the Elektron-Users forum and I’ll update. Happy tweaking,...
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Page 3: Table Of Contents
Contents: Basics …………………………………………... Synth………………………………………………………………….. Seq……………………………………………………………………. Song Mode…………………………………………………………… External seq………………………………………………………….. Advanced Sequencer ………………………… Recording modes……………………………………………………. P-locks………………………………………………………………... Trigless trigs…………………………………………………………. Kits/patches………………………………………………………….. LFO…………………………………………………………………… Swing…………………………………………………………………. Arp……………………………………………………………………. Transpose…………………………………………………………..Slides…………………………………………………………………. Ploy…………………………………………………………………..Multi trig………………………………………………………………. Multi env. …………………………………………………………….. Machines……………………………………..…. BBOX…………………………………………………………………. GND…………………………………………………………………… FM…………………………………………………………………….. V/O……………………………………………………………………. DPRO WAVES………………………………………………………. Sound programming…………………………... Bass…………………………………………………………………… Drums………………………………………………………………… Snares………………………………………………………………... -
Page 4: Basics
32 beats long, you can specify that the pattern should start on beat 5, play for 16 beats, and then switch to another pattern. The Elektron song sequencer is derived from old-school MOD trackers, which require that the composer enter in which events will occur, row by row. - Page 5 You can change the start point and length of a pattern from within songmode. What this means is you can literally remix and rehash patterns from within songmode. This is also possible with the MD. So, for example: Instead of your pattern starting on its first beat, it starts on the third beat and comes in off-beat, you can use this to create stutters and that feeling that the beat has just fallen in on itself before you right it a couple of bars later etc..
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Page 6: Advanced Sequencer
ADVANCED SEQUENCER FUNCTIONS REAL TIME AND STEP RECORDING Step recording is done by pressing the record button. Realtime recording can be accessed without stopping the pattern by holding rec and play together: 1. Put your gear playing 2. if you now just press the record-button you enter into grid programming 3. -
Page 7: P-Locks
PARAMETER LOCKS Perhaps the most important aspect of the monomachine sequencer is the concept of parameter locks. Experiment with them as much as you can and you will soon discover just how powerful they really are. Choose track 1. Make sure the record led is firmly lit and not flashing by pressing the RECORD key. -
Page 8: Kits/Patches
The trigless trigs feature on the Monomachne seems too cool to be under-utilized given that it seems unique and really extends the grid sequencing paradigm as far as hardware sequencers go. Trigless trigs mean that you can change parameters without having to launch certain other parameters: For instance, let's say you have a sequence and would like to retrigger the LFO without retriggering the amp envelope or some other parameters, you can with trigless trigs. -
Page 9: Lfo
Go into edit (almost like you are setting up or changing the current machine) but don't select a machine. When you are in the machine selection window (IE. saw, sid, vo, etc) press function and copy Select the track you want to copy to (1 through 6 on the right side of the MnM) then press function and paste. -
Page 10: Swing
SWING The swing percentage amount is for all tracks. You can’t have individual track swing amounts. But whats is possible is to change where in the 16 step it should swing and where not: You can set the grid steps that have swing applied for each individual track AND a global swing track. - Page 11 Parameter lock one of the LFO's on the note that has to slide to the second one. The waveform I use is saw up ( /| )for slide up and saw down ( |\) for a slide down. You have to play a little with the speed and amount etc to make the slide work, and MOST IMPORTANT you have to transpose the note you're sliding because it's really out of tune because of the LFO you apply.
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Page 12: Multitrig
MULTITRIG Multi trig mode basically means you can play all 6 machines on 1 midi ch, so you have to set the multi trig ch on the mnm to the same as what you are playing it from. Mine is set 1-6 machines 7 multi trig ch etc. -
Page 13: Machines
(etc. etc.), which seems unlikely. The best solution to the problem is buy a drummachine, elektron make a very nice one, it matches the MnM. -
Page 14: Dpro Waves
DPRO WAVES Looking at the MnM manual Elektron explains very little how the DoubleDraw works. It seems to have same kind of rationalization as with FM-machines; you don't really need to know how stuff works technically, great sounds can be achieved by trying things out (which is so true... - Page 15 The MKII 1.20 update brings the new functionality of the Digi Ensemble and Draw machines and included are waveforms. The waveforms are preloaded by default. So you can replace them with your own sound but can't delete them from memory. Confused? Ok, so the defaults are always there.
- Page 16 A wikipedia wavetable explantion: To begin the process, the sound of an existing instrument (a single note) is sampled and processed using a spectrum analyzer, producing a graph of overtones contained in the sample. This graph is then parsed into a sequence of samples or wavetables, each having one period or cycle per table, generated by adding together the partials at each parse point.
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Page 17: Sound Programming
SOUND PROGRAMMING BASS FM+ is always my first port of call for basslines (im a big fan of sega megadrive sounds), just experimenting with the envelopes on simple FM ratio settings can give wild bass sounds. The filter works like a band pass filter with double resonance. Lots of resonance on the HPF will result in a resonant peak at the lower end of the audio spectra, whereas resonance on the LPF gives more empahsis to the top end of the spectra. - Page 18 Add just a little distorsion to the sound, barely audible. Combined with a fast filter envelope adds a bit more definition to the attack phase of the sound. Distorsion could also be controlled by a triggered single shot ramp LFO. Here are some bass related observations and tests: 1.
- Page 19 303 style/Acid Bass: 303 basses cant be done accurately because: a) There's no 303-like saw oscillator - SID saw will do just fine though. b) No filter like in 303 available (MnM has 24dB/oct, 303 has 18dB/oct) However, 303ish or ‘acid’ sounds are possible; Just use saw oscillator and disable envelope tracking in settings.
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Page 20: Drums
Dubstep bass: The wobble= Sine, Distortion, LFO to pitch and/or filter, parameter lock LFO speed. You could also try that on the fm machines. DRUMS Note: before drum programming with mono read this: MNM oscillator properties: When VA appears in 1995 this was the ultimate feature to have ina synth, because "each notes sounds different than the other, like in a real analog"... -
Page 21: Snares
I tried from the beginnig messing with the filter, as I do on my MS20, get the Q to the top and play with the env amount. The result was a good powerful "909style" kick but with a kind of oscillation that turns every kick a bit different... -
Page 22: Pads
something like the synthetic drums in some early digital home organs, like casio VL-1, SK-1 and the like. So I use the classic model of a short tuned spike attack followd by a noise burst with longer decay If you use an exponential decayed LFO in on-shot mode to modulate the wave of the SID you get a sound that could go from the triangle wave to the noise one very quicly, so this makes a really close aproximation of the model I described... - Page 23 Try using the EQ as a notch filter for phasing effects: set gain negative and sweep frequency slowly with an LFO. You can get shimmering tones with the high pass filter: Start with the cut off high and sweep slowly into the mids, with some LFO for extra movement. Slow values of the interlace parameter on the LFO can also add sparkling effects.
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Page 24: Organ
F +3 +6 +8 and vary last 2 steps with D +3+7+ +10 C# +3 +7 +11 ORGAN TONES Start with a supersaw set the three pitches to taste automate filter sweeps with lfo a very common thing to get organs in analog synths is to use a sub oscillator TWO octaves below the main oscillator..then choose a square wave for the main oscillator;... - Page 25 Distortion on the MnM is very crude and digital so maybe it not suited for dub organs, you´ll go better with an external analog devise, a tube one ore a modelling thing like the some of the POD models. Organ patch: IMPORTANT : FIRST turn OFF the keyboard tracking of both filters.
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Page 26: Strings
PAGE = PITCH DEST = 1/12 TRIG = FREE WAVE = TRI MULT = 32x SPEED = 64 INTL = 0 DEPTH = 33 -------------------------------------------------------------- LFO 2 PAGE = AMP DEST = VOL TRIG = FREE WAVE = TRI MULT = 32x SPEED = 50 INTL = 0 DEPTH = 12... - Page 27 You can get some nice ensemble/string sounds in with the Superwave-ENS. The biggest difficulty is doing those sounds in mono. Consider putting the Mono in poly mode while you're making those sounds. Pseudo Karplus Strong synthesis with the FM engine that has feedback. Though that sounds closer to real strings, rather than analogue strings...
- Page 28 PAGE = SYNT DEST = PW TRIG = FREE WAVE = TRI MULT = 1x SPEED = 8 INTL = 0 DEPTH = 36 -------------------------------------------------------------- LFO 2 PAGE = FILT DEST = WDTH TRIG = FREE WAVE = TRI MULT = 1x SPEED = 57 INTL = 0 DEPTH = 2 or 3...
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Page 29: Effects
Copy a pattern and then switch off the trigs of the track I want to fade out slowly into the next pattern so it should work during various patterns provided Hold/Dec parameters are set high enough. This could also be good for creating less subtle walls of sound, especially in combination with setting the delay feedback parameter to a high setting to add another layer. -
Page 30: Inputs
INPUTS: The monomachine inputs open up many possibilities for external sound processing. If you are suffering a low level or noise loss make sure you turn off Filtertracking. See the joystick-menu and turn both lpf- and hpf-tracking off. You can run an external audio signal through the monomachines filter section and the entire env, SRR, dist., etc. -
Page 31: Miscellaneous
I use the 6 Mono outs constantly as well as the input (mainly processing NL2x). Don’t forget to route your mixers send back into the monos inputs for more onboard processing. You can also route out to do frequency cuts. After starting to separate outs it was interesting how the percussion sounds actually gained a lot of their output from frequency ranges that I didn't expect them to be in (the kick was in a large part up in the mids, the snares were down in the lows and the hats were in the mid-highs), I've had a lot of fun cutting out the... -
Page 32: Sysex
Model 1500 this model can hold one MM SFX-60 or MD series Model 1550 capable of holding two units Model 1700 cable of holding two units lengthwise Model 1720 works excellent for the Monomachine SFX-6 Misc. Options Old trumpet cases.
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