User Manual

FCC compliance statement

This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and (2) this device must accept any interference
received, including interference that may cause undesired operation.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encour-
aged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.

WARNING: Cancer and Reproductive Harm – www.P65Warnings.ca.gov

AVERTISSEMENT: Cancer et effet nocif sur la reproduction – www.P65Warnings.ca.gov
ADVERTENCIA: Cáncer y Daño Reproductivo – www.P65Warnings.ca.gov

Canada
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003.

European Union regulation compliance statement

This product has been tested to comply with the Low Voltage Directive 2014/35/EU and the Electro-
magnetic Compatibility Directive 2014/30/EU. The product meets the requirements of RoHS 2 Directive
2011/65/EU.

This symbol indicates that your product must be disposed of properly according to local
laws and regulations.

Legal disclaimer
The information in this document is subject to change without notice and should not be construed as a
commitment by Elektron. Elektron assumes no responsibility for any errors that may appear in this doc-
ument. Elektron may also make improvements and/or changes in the products and programs described
in this document at any time without notice. In no event shall Elektron be liable for any special, indirect,
or consequential damages or any damages whatsoever resulting from loss of use, data, or profits,
whether in an action of contract, negligence, or other action, arising out of or in connection with the use
or performance of this information.
IMPORTANT SAFETY AND MAINTENANCE INSTRUCTIONS
Please read these instructions carefully and adhere to the operating advice.
1. Do not use this unit near water.
2. Never use aggressive cleaners on the casing or on the screen. Remove dust, dirt and fingerprints with
a soft, dry and non-abrasive cloth. More persistent dirt can be removed with a slightly damp cloth using
only water. Disconnect all cables while doing this. Only reconnect them when the product is safely dry.
3. Install in accordance with the manufacturer’s instructions. Make sure you place the unit on a stable sur-
face before use. If you mount the unit in a rack, be sure to tighten all four screws in the rack mount holes.
4. Connect the unit to an easily accessible electrical outlet close to the unit.
5. When transporting the unit, use accessories recommended by the manufacturer or the original box and
padding.
6. Do not install near any heat sources such as radiators, heat registers, stoves, or any other equipment
(including amplifiers) producing heat.
7. Do not put the PL-2S Protective Cover (Elektron accessory) on the unit while the unit is powered on.
8. This product, by itself or in combination with amplifiers, headphones or speakers, is capable of produc-
ing sound levels that may cause permanent hearing loss. Do not operate at a high volume level or at a
level that is uncomfortable.
9. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles,
and the point where they exit from the unit.
10. Only use attachments/accessories specified by the manufacturer.
11. Unplug this unit during lightning storms or when it is not used for long periods of time.
12. Refer all servicing to qualified service technicians. Servicing is required when the unit has been damaged
in any way, liquid has been spilled or objects have fallen into the unit, the unit has been exposed to rain
or moisture, does not operate normally, or has been dropped.

WARNING
To reduce the risk of fire, electrical shock or product damage:
• Do not expose the unit to rain, moisture, dripping or splashing and also avoid placing objects filled with
liquid, such as vases, on the unit.
• Do not expose the unit to direct sunlight, nor use it in ambient temperatures exceeding 40°C as this can
lead to malfunction.
• Do not open the casing. There are no user repairable or adjustable parts inside. Leave service and
repairs to trained service technicians only.
• Do not exceed the limitations specified in the Electrical specifications.

SAFETY INSTRUCTIONS FOR THE POWER ADAPTER

• The adapter is not safety grounded and may only be used indoors.
• To ensure good ventilation for the adapter, do not place it in tight spaces. To prevent risk of electric
shock and fire because of overheating, ensure that curtains and other objects do not prevent adapter
ventilation.
• Do not expose the power adapter to direct sunlight, nor use it in ambient temperatures exceeding 40°C.
• Connect the adapter to an easily accessible electrical outlet close to the unit.
• The adapter is in standby mode when the power cord is connected. The primary circuit is always active
when the cord is connected to the power outlet. Pull out the cord to completely disconnect the adapter.
• In the EU, only use CE approved power cords.

RESTART
• For a complete restart of the Digitakt II, wait for at least 30 seconds after turning it off before turning it
on again.
TABLE OF CONTENTS

TABLE OF CONTENTS

1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
1.1 CONVENTIONS IN THIS MANUAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

2. THE DIGITAKT II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

3. PANEL LAYOUT AND CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.1 FRONT PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.2 REAR CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
3.3 SETTING UP AND STARTING THE DIGITAKT II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

4. DIGITAKT II SOUND ARCHITECTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

4.1 AUDIO VOICES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.2 EFFECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

5. OVERVIEW OF THE DIGITAKT II DATA STRUCTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

5.1 +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2 DATA STRUCTURE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2.1 PROJECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2.2 SONGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2.3 PATTERNS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2.4 KIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2.5 PRESETS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5.2.6 SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.3 ABOUT THE TRACKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.3.1 AUDIO TRACKS AND MACHINES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.3.2 MIDI TRACKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
5.3.3 EDITING THE TRACKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

6. INTERACTING WITH THE DIGITAKT II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

6.1 SCREEN NAVIGATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6.2 PARAMETER EDITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6.2.1 PARAMETER VALUE JUMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.2.2 CONTROL ALL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.2.3 [FUNC] KEY PRESS COMBINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.3 QUICK SCROLLING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.4 COPY, CLEAR, AND PASTE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.5 THE NAMING SCREEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.5.1 POP-UP NAMING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
6.6 OVERBRIDGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.7 CLASS COMPLIANT DEVICE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.8 BACKING UP THE DIGITAKT II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.8.1 BACKING UP PROJECTS, PRESETS AND SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
6.8.2 TRANSFERRING BACKED UP FILES TO YOUR ELEKTRON DEVICE. . . . . . . . . . . . . . . . . . . . . . . . . 21

7. QUICK START . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7.1 PLAYING THE FACTORY PRESETS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7.1.1 USING KEYBOARD MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7.1.2 USING MUTE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7.1.3 TEMPO AND METRONOME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7.1.4 EDITING PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
7.2 SAMPLING FROM THE EXTERNAL INPUTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

8. DIGITAKT II CONTROLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

4
 TABLE OF CONTENTS

8.1 TRIG KEYS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

8.2 ROTARY ENCODERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
8.3 KEY BEHAVIOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
8.4 MIDI NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
8.5 MODES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
8.5.1 KEYBOARD MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
8.5.2 KEYBOARD SETUP MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
8.5.3 MUTE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
8.5.4 TRIG MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

9. PATTERNS, KITS, PRESETS, AND SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

9.1 THE +DRIVE LIBRARY AND THE POOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
9.1.1 ADDING PRESETS TO THE POOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
9.2 PRESET BROWSER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
9.3 PRESET/KIT MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
9.3.1 LOAD (PRESET). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
9.3.2 SAVE (PRESET) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
9.3.3 MANAGE (PRESET). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
9.3.4 POOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
9.3.5 LOAD (KIT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
9.3.6 SAVE (KIT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
9.3.7 MANAGE (KIT). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
9.4 PLAYING A PRESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
9.5 EDITING A PRESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
9.6 SAVING A PRESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
9.7 ASSIGNING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
9.7.1 ASSIGNING A SAMPLE USING THE QUICK ASSIGN METHOD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
9.8 THE SETUP MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
9.8.1 KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
9.8.2 TRACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

10. THE SEQUENCER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

10.1 PATTERN OPERATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
10.1.1 SELECTING BANK AND PATTERN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
10.1.2 PATTERN CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
10.1.3 CHAINS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
10.2 EDITING A PATTERN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.2.1 TRIG TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
10.2.2 GRID RECORDING MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
10.2.3 LIVE RECORDING MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
10.2.4 STEP RECORDING MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
10.3 SEQUENCER MENU (EUCLIDEAN MODE). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
10.4 MICRO TIMING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.5 RETRIGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.6 QUANTIZE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.7 PAGE SETUP MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.7.1 PER PATTERN MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
10.7.2 PER TRACK MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
10.8 SEQUENCER FEATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
10.8.1 PARAMETER LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
10.8.2 PRESET LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
10.7.3 TRIG CONDITIONS AND CONDITIONAL LOCKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
10.8.4 FILL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

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10.8.5 COPY, PASTE AND CLEAR OPERATIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

10.8.6 TEMPORARY SAVE AND RELOAD PATTERN COMMANDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
10.9 SONG MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
10.9.1 THE SONG EDIT SCREEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
10.9.2 CREATING AND EDITING A SONG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
10.9.3 PLAYING A SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
10.10 PERFORM KIT MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
10.10.1 PERFORM KIT MODE ACTIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

11. TRACK PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

11.1 EDITING THE TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
11.2 TRIG PAGE 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
11.3 TRIG PAGE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
11.4 SRC PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
11.5 FLTR PAGE 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
11.6 FLTR PAGE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
11.7 AMP PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
11.8 FX PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
11.9 MOD PAGE 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
11.10 MOD PAGE 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
11.11 MOD PAGE 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

12. FX AND MIXER PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

12.1 EDITING THE SEND FX AND MIXER PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
12.2 DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
12.3 REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
12.4 CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
12.5 COMPRESSOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
12.6 INTERNAL MIXER PAGE 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
12.7 INTERNAL MIXER PAGE 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
12.8 FX MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
12.9 EXTERNAL MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

13. SAMPLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1 SAMPLING MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1.1 SRC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1.2 RECORD NOW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1.3 THRES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1.4 MON. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1.5 R.LEN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
13.1.6 R.STRT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
13.1.7 ARM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
13.2 SAMPLING AUDIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
13.3 ASSIGNING A SAMPLE TO A TRACK FROM THE +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
13.4 SAMPLE PLAYBACK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
13.6 SAMPLES MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
13.6.1 LOADING A SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
13.6.2 UNLOADING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
13.6.3 REPLACING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
13.6.4 RENAMING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
13.6.5 MOVING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
13.6.6 REMOVING UNUSED SAMPLES FROM RAM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
13.6.7 TRANSFERRING SAMPLES FROM A COMPUTER TO DIGITAKT II. . . . . . . . . . . . . . . . . . . . . . . . . . 73

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13.6.8 CREATING A NEW DESTINATION DIRECTORY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

13.6.9 TRANSFERRING SAMPLES FROM DIGITAKT II TO A COMPUTER . . . . . . . . . . . . . . . . . . . . . . . . . 73

14. SETTINGS MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

14.1 PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
14.1.1 LOAD PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
14.1.2 SAVE PROJECT AS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
14.1.3 MANAGE PROJECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
14.2 SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.2.1 RENAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.2.2 CLEAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.2.3 LOAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.2.4 SAVE TO PROJ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.3 PATTERN MENU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.3.1 RENAME. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.3.2 CLEAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.3.3 SAVE TO PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
14.3.4 RELOAD FROM PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
14.4 MIDI CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
14.4.1 SYNC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
14.4.2 PORT CONFIG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
14.4.3 CHANNELS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
14.5 SYSEX DUMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
14.5.1 SYSEX SEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
14.5.2 SYSEX RECEIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
14.6 AUDIO ROUTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
14.6.1 TO MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
14.6.2 TO FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.6.3 USB IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.6.4 USB OUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.6.5 INT TO MAIN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.6.6 USB TO MAIN [dB]. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.6.7 PRE/POST FADER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.7 PERSONALIZE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80
14.7.1 LED INTENSITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.7.2 LED BACKLIGHT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.7.3 REMEMBER SUBPAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.7.4 U/D KEY MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.7.5 PAGE AUTOCOPY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.8 SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.8.1 USB CONFIG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
14.8.2 OS UPGRADE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
14.8.3 FORMAT +DRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
14.8.4 STORAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

15. STARTUP MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

15.1 TEST MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
15.2 EMPTY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
15.3 FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
15.4 OS UPGRADE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
15.5 EXIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

16. SETUP EXAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

16.1 DIGITAKT II WITH A MONOPHONIC BASS MACHINE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

7
TABLE OF CONTENTS

16.2 DIGITAKT II WITH A SMART PHONE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

16.3 CONTROLLING A SYNTHESIZER USING THE MIDI TRACKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

17. KEY COMBINATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

18. TECHNICAL INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
19. CREDITS AND CONTACT INFORMATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
APPENDIX A: MACHINES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
A.1 ASSIGNING MACHINES TO THE ACTIVE TRACK. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
A.2 SRC MACHINES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
A.2.1 ONESHOT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
A.2.2 WERP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
A.2.3 STRETCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
A.2.4 REPITCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
A.2.5 GRID. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
A.2.6 MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
A.3 FLTR MACHINES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
A.3.1 MULTI-MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
A.3.2 LOWPASS 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
A.3.3 EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
A.3.4 COMB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
A.3.5 LEGACY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

APPENDIX B: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

B.1 TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
B.2 TRIG PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
B.3 SOURCE PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
B.4 FILTER PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
B.5 AMP PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
B.6 EUCLIDEAN SEQUENCER PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
B.7 FX PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
B.8 MOD PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
B.9 SEND FX PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
B.10 MIXER PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
B.8 VAL PARAMETERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
B.9 MISC PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

APPENDIX C: LFO MODULATION DESTINATIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

APPENDIX D: KEYBOARD SCALES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
INDEX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

8
TABLE OF CONTENTS

9
1. INTRODUCTION

1. INTRODUCTION
The Digitakt II is a compact drum machine and sampler from Elektron. It contains all the necessary tools to
create music and make people move to the beat. A highly flexible sound engine with several different sam-
ple playback machines, stereo sampling capability, a live-friendly sequencer, and extensive possibilities to
control external MIDI gear. To get the most out of your Digitakt II, we recommend that you read this manual
in its entirety.

1.1 CONVENTIONS IN THIS MANUAL

We have used the following conventions throughout the manual:
Key names are written in upper case, bold style and within brackets. For instance, the key labeled “FUNC”
on the main panel is written as [FUNC].
Knobs are written in upper case, bold, italic letters. For instance, the knob “Level/Data” is called LEVEL/
DATA.
Menu names are written in upper case letters. The SETTINGS menu is an example of that.
Parameter names and certain menu options where settings can be made or actions performed are written
in bold, upper case letters. For example, VOL.
Upper case letters are used for parameter setting alternatives. For example, OFF.
Messages visible on the screen are written in upper case letters with quotation marks.
For example, “QUANTIZE LIVE REC”.
LED indicators like the Page LEDs are written like this: <PAGE>.

The following symbols are used throughout the manual:

Important information that you should pay attention to.

A tip that will make it easier for you to interact with the Digitakt II.

The Stereo-sausage butterfly.

10
 2. THE DIGITAKT II

2. THE DIGITAKT II
Welcome to Digitakt II. The Digitakt experience, but multiplied. A whole new dimension, in fact. Resetting
the boundaries that its predecessor pushed. Idea after idea, OS after OS, the original Digitakt went from
strength to strength, until finally reaching its brim. This next chapter is about what's beyond the brim.
Digitakt II emerged as its own beast, pushing what’s possible beyond the horizon. This is a box that offers an
immeasurable collage of possibilities: 16 tracks that can be either audio or MIDI tracks, stereo sampling, a
128 step sequencer, and oodles extra power and memory letting you do more than ever. And then there's a
more modular workflow, swappable filters, additional sequencer mode, and kits and trig modes, all giving you
a more customizable creative experience.
So, now, for you with all of the above at your fingertips, it is time to take your place in this beginning. The
start line beckons. Flick the switch and set off on your own sonic adventures. Who knows what the destina-
tion will be? We can only guarantee that the journey is going to be a fun-filled blast.

Sincerely,
The Elektron Team

Digitakt II User Manual. This manual is copyright © 2024 Elektron Music Machines MAV AB. All reproduction, digital or
printed, without written authorization is strictly prohibited. The information in this manual may change without notice.
Elektron’s product names, logotypes, titles, words or phrases may be registered and protected by Swedish and interna-
tional law. All other brand or product names are trademarks or registered trademarks of their respective holders.
This manual for Digitakt II OS version 1.01 was last updated April 25, 2024.

11
3. PANEL LAYOUT AND CONNECTORS

3. PANEL LAYOUT AND CONNECTORS

3.1 FRONT PANEL

1 2 3 4 5 6 7 8

23

22

21

20 10
19 11
18 12
17
16

15
13

14

1. MAIN VOLUME sets the volume for the main outputs and the headphones output.
2. [PRESET/KIT] opens PRESET/KIT menu where you manage the presets and kits The secondary func-
tion accesses the PERFORM KIT mode.
3. [SETTINGS] contains the management of projects, MIDI configuration, and the System settings.
The secondary function saves the current project.
4. [SAMPLING] opens the SAMPLING menu, where you perform the sampling. The secondary function
opens the SAMPLES menu.
5. [TEMPO] opens the TEMPO menu, where you can adjust the global/pattern tempo and also adjust the
swing. Here you also find the settings for the metronome. The secondary function makes it possible to
tap the tempo.
6. [NO] key. Used for exiting an active menu, backing one step and negating. The secondary function is to
temporary reload the active pattern.
7. [YES] key. Used for entering sub-menus, selecting and confirming. The secondary function is to tempo-
rary save the active pattern.
8. DATA ENTRY knobs A-H. Used for setting parameter values. Press and turn the knobs to change values
in larger increments.
9. [PARAMETER] keys access the PARAMETER pages of the active track. The color of the keys indicates
if the page is active (red/orange) or inactive (off).
• [TRIG PARAMETERS] accesses parameters such as NOTE, VELOCITY, and other trig related param-
eters. The secondary function accesses the QUANTIZE menu.
• [SRC] takes you to the SOURCE page that has the parameters for the selected SRC machine on audio
tracks. For MIDI tracks this page has parameters such as CHANNEL, PROGRAM, and AFTERTOUCH.
The secondary function accesses the MACHINE menu.

12
 3. PANEL LAYOUT AND CONNECTORS

• [FLTR] accesses the FILTER page. Here are the parameters for the FLTR machine for the audio tracks.
On MIDI tracks you find the CC value settings and CC select settings for track 1–8 here. The secondary
function accesses the SETUP menu.
• [AMP] takes you to the AMP page, where you find parameters for the amplitude envelope and effect
sends. On MIDI tracks you find the CC value settings and CC select settings for track 9–16 here. The
secondary function accesses the SEQUENCER menu where you find the parameters for the euclidean
sequencer.
• [FX] takes you to the FX pages, where you find parameters for the bit reduction, overdrive, sample rate
reduction, and effect sends levels. The secondary page accesses the parameters for the send effects.
• [MOD] accesses the LFO parameters for the active track. The secondary function accesses the
MIXER pages.
10. The <PATTERN PAGE> LEDs indicate how many pattern pages the active pattern consists of and which
pattern page is currently active. The LED flashes on the pattern page currently playing.
11. The [ARROW] keys. Used for navigation and for setting some parameter values. Separately, they are
called [UP], [DOWN], [LEFT], and [RIGHT].
12. [PAGE] selects the active pattern page, The secondary function accesses the PAGE SETUP menu. This
key also activates FILL mode.
13. [TRIG] keys are used for entering or removing sequencer trigs, and parameter locks, in combination
with the DATA ENTRY knobs. They are also used to select a track, bank, pattern, and song in combina-
tion with the [TRK], [PTN], and [SONG] keys. The [TRIG] keys are also used as a keyboard in KEY-
BOARD mode. The secondary function is to Quick Mute tracks.
The [TRIG] keys lights indicate trigs on the sequencer by lit red keys, while flashing red or yellow keys
indicates parameter locks, in GRID RECORDING and STEP RECORDING mode. When a pattern is play-
ing, or when LIVE RECORDING is enabled, a light “runs” along the 16 steps of the sequencer across all
(up to eight) pages at the set tempo.
14. [SONG] selects song 1–16 in combination with the [TRIG 1–16] keys. The secondary function accesses
the Song edit screen.
15. [PTN] selects the bank and pattern in combination with the [LEFT]/[RIGHT] and [TRIG 1–16] keys. The
secondary function opens the Bank selection.
16. [TRK] key. Press [TRK] + one of the [TRIG] keys to select a track for editing. The secondary function
accesses the MUTE mode.
17. [STOP] stops playback. The secondary function is the paste operation.
18. [PLAY] starts the sequencer playback. Pressing [PLAY] a second time pauses playback. The secondary
function is the clear operation.
19. [RECORD] key. Activates/deactivates GRID RECORDING mode. Press [RECORD] + [PLAY], to activate
LIVE RECORDING mode. Press [RECORD] + [STOP], to activate STEP RECORDING mode. The sec-
ondary function is the copy operation.
20. [KEYBOARD] toggles KEYBOARD mode on/off. The secondary function opens the KEYBOARD SETUP
menu where you can view and edit settings such as scale, root note, and keyboard fold..
21. [FUNC] key. Press, hold and press another key to access the secondary function of that key. The sec-
ondary functions are written in orange on the Digitakt II front panel.
22. LEVEL/DATA sets the overall volume level of the active track. It is also used for setting parameters and
scrolling through lists. The secondary function opens the PRESET MANAGER. This knob is also used to
open the PRESET POOL when adding preset locks.
23. Screen.

13
3. PANEL LAYOUT AND CONNECTORS

3.2 REAR CONNECTORS

1 2 3 4 5 6 7 8 9 10 11

1. POWER, Switch for turning the unit on and off.

2. DC In, Input for power supply. Use the included PSU-3c power adapter, connected to a power outlet.
3. USB, For connecting the unit to a computer and for MIDI-control. Use the included A to B USB 2.0 con-
nector cable to connect to a computer host.
4. MIDI THRU/SYNC B, Forwards data from MIDI IN. Can also be configured to send DIN sync to legacy
instruments. Use a standard MIDI cable to connect another MIDI device in the chain.
5. MIDI OUT/SYNC A, MIDI data output. Can also be configured to send DIN sync to legacy instruments.
Use a standard MIDI cable to connect to MIDI In of an external MIDI device.
6. MIDI IN, MIDI data input. Use a standard MIDI cable to connect to MIDI Out of an external MIDI device.
7. IN L/R, Audio inputs used for external sources for sampling or audio processing. Use either a 1/4” (Tip/
Ring/Sleeve) phone plug (balanced connection) or a 1/4” mono phone plug (unbalanced connection).
8. OUT L/R, Main audio outputs. Use either a 1/4” (Tip/Ring/Sleeve) phone plug (balanced connection) or
a 1/4” mono phone plug (unbalanced connection).
9. HEADPHONES, Audio output for stereo headphones. Use 1/4” (Tip/Ring/Sleeve) phone plug.

3.3 SETTING UP AND STARTING THE DIGITAKT II

Make sure you place the Digitakt II on a stable support, such as a sturdy table, with sufficient space for the
cables. Make sure to switch off all devices before you connect the Digitakt II to other devices.
1. Plug the supplied DC adapter to a power outlet and connect the small plug to the 12 V DC In on the
Digitakt II.
2. Connect OUT L/R from the Digitakt II to your mixer or amplifier.
3. To control the Digitakt II from a computer, connect a USB cable between the computer and the USB
connector of the Digitakt II.
4. If you want to use MIDI to control the Digitakt II, connect the MIDI OUT port of the device you wish to
send data from to the MIDI IN port of the Digitakt II. The MIDI THRU port duplicates the data arriving
at the MIDI IN port, so it can be used for chaining MIDI units together. Connect the MIDI OUT port of
the Digitakt II to the MIDI IN port of the of the device you want to control if you want to use Digitakt II to
control other devices using MIDI.
5. If you want to sample or process audio from external sources, connect the audio source to IN L/R or via
USB (sampling only).
6. Switch on all units. Switch on the Digitakt II by pressing the Power switch located at the back of the unit.

14
 4. DIGITAKT II SOUND ARCHITECTURE

4. DIGITAKT II SOUND ARCHITECTURE

The illustrations below show the Digitakt II sound architecture, with its 16 stereo audio voices, three send
effects (chorus, delay and reverb), and master effects (compressor, master overdrive).

4.1 AUDIO VOICES

FILTER AMP TRK

ENVELOPE ENV LEV

BR
SRC BASE-WIDTH FILTER

PAN
OVERDRIVE
FILTER AMP
AMP
AMP
TRK TO MIXER
MACHINE SRR FILTER MACHINE
ENVELOPE ENV LEV
SRR POST FILTER
BR CHO, DEL,
SRC BASE-WIDTH FILTER

PAN
OVERDRIVE AMP AMP REV SEND TO MIXER
MACHINE SRR FILTER MACHINE

FROM EFFECT SENDS SRR POST FILTER

CHO, DEL,
REV SEND
4.2 CHORUS
EFFECTS TO MIXER
FROM EFFECT SENDSDELAY REVERB
SEND SEND
CHORUS TO MIXER
DELAY TO MIXER
DELAY REVERB
SEND SEND REVERB
SEND
DELAY TO MIXER
REVERB TO MIXER
REVERB
SEND

REVERB TO MIXER
CHORUS RETURNS DELAY RETURNS FROM USB
PRE
COMP
FROM AUDIO VOICES MASTER
MIXER COMPRESSOR OUTPUTS L/R
FROM INPUT L/R OVERDRIVE
CHORUS RETURNS DELAY RETURNS FROM USB
PRE POST COMP
REVERB RETURNS
COMP
FROM AUDIO VOICES MASTER
MIXER COMPRESSOR OUTPUTS L/R
FROM INPUT L/R OVERDRIVE

POST COMP
REVERB RETURNS

15
5. OVERVIEW OF THE DIGITAKT II DATA STRUCTURE

5. OVERVIEW OF THE DIGITAKT II DATA STRUCTURE

The image below outlines the data structure of the Digitakt II.

+DRIVE
Projects, Kits, Presets, Samples

PROJECT

16 SONGS 128 PATTERNS POOL

1 Kit per pattern 128 Presets. 1016 Samples

16 AUDIO/MIDI TRACKS
(per pattern)

5.1 +DRIVE
The +Drive is a non-volatile storage. It keeps up to 128 projects and 1024 kits stored internally, and it also
holds all saved presets. The +Drive also contains the sample bank that can hold up to 20 GB of user sam-
ples. All projects have access to these samples.

5.2 DATA STRUCTURE

5.2.1 PROJECT
A project contains up to 128 patterns. General settings and states are also stored in the project. When a
project is loaded it becomes the active working state of the Digitakt II. From here it is possible to edit the
patterns and presets of the project. Every time the Digitakt II is switched on, it boots to the active work-
ing state, the active project. Projects are saved, loaded and managed in the SETTINGS menu. For more
information, please see "14.1 PROJECT" on page 74.

5.2.2 SONGS
A song is an arrangement of patterns set up to play in sequence. Each row in the SONG mode arrange-
ment can have separate settings for pattern, row repeat, row length, tempo, and mute. A song can be up
to 99 rows in length, and each project can contain up to 16 songs. For more information, please see "10.9
SONG MODE" on page 50.

5.2.3 PATTERNS
The patterns are the primary data container for the Digitakt II. 16 patterns are available for each of the
eight banks, which means that 128 patterns are available for each project. A pattern contains up to 16
presets (one for each audio track), a kit, and sequencer data like trigs and parameter locks for the 16
tracks.. It also contains the settings on the TRIG page and BPM, length, swing and time signature set-
tings. For more information, please see "10. THE SEQUENCER" on page 40.

5.2.4 KIT
A kit is a collection of 16 presets, one for every track in a pattern. For more information, please see "9.3
PRESET/KIT MENU" on page 30, "9. PATTERNS, KITS, PRESETS, AND SAMPLES" on page 29,
and "11. TRACK PARAMETERS" on page 53.

5.2.5 PRESETS
A preset is a sample (for audio track presets), plus all the track settings in the SRC, FLTR, AMP, FX, and
MOD parameter pages. Or, in the case of MIDI presets, the SRC, FLTR, AMP, and MOD PARAMETER
pages settings.. Presets are stored in the +Drive library. The +Drive library holds up to 2048 presets. You
can use the PRESET MANAGER to manage presets. For more information, please see "9.3 PRESET/KIT
MENU" on page 30, "9. PATTERNS, KITS, PRESETS, AND SAMPLES" on page 29, and "11. TRACK
PARAMETERS" on page 53.

It is also possible to save/load/manage MIDI track presets in the same way as you do with
audio track presets.

16
 5. OVERVIEW OF THE DIGITAKT II DATA STRUCTURE

When a preset or kit is imported to a pattern, it becomes an independent copy of the

preset/kit on the +Drive and is not linked to the original preset/kit on the +Drive. Instead, it
fully becomes a part of the pattern.

5.2.6 SAMPLES
You can load up to 400 MB (about 72 minutes in mono, 36 minutes in stereo) of samples in a project, us-
ing a maximum of 1016 sample slots. Samples are stored in the +Drive Sample bank. Additional samples
can be transferred to the Digitakt II from a computer with the Elektron Transfer software. You also have
the possibility to sample straight into the Digitakt II. For more information, please see "13. SAMPLING" on
page 68.

5.3 ABOUT THE TRACKS

The Digitakt II sequencer has 16 tracks that can be either an audio track or a MIDI track.

5.3.1 AUDIO TRACKS AND MACHINES

Any of the sixteen tracks can be used as an audio track. This is the default track setting. Each audio
track contains one sample, and the parameter settings in the PARAMETER pages TRIG, SRC, FLTR, FX,
AMP, and MOD. A track that contains any other SRC machine than the MIDI machine is considered an
audio track.
A machine is a module within the Digitakt II with specific functionality. A machine can be switched out for
another machine in the same category. For example different sample playback engines or a selection of
filters. Every machine has a specific set of parameters tailored to give you the most relevant and useful
sound-shaping possibilities for that particular machine. For more information, please see "APPENDIX A:
MACHINES" on page 91.

5.3.2 MIDI TRACKS

Any of the 16 tracks can be used as a MIDI track. They are used to control external, MIDI equipped, gear.
Each MIDI track can trigger a chord of up to four notes with adjustable parameters such as velocity
and length, control pitch bend and aftertouch, as well as sixteen freely assignable MIDI control change
parameters (MIDI CCs). For more information, please see "A.2.6 MIDI" on page 97. Any MIDI channel
can be assigned to a MIDI track and several tracks can share the same channel. If several tracks are
assigned to the same MIDI channel the track with the lowest number has priority in case of parameter
conflicts.
The MIDI tracks function almost the same way as the audio tracks. Parameter locks, LFO modulation,
copy and paste commands are available. Each MIDI track also features micro timing, individual track
length and time signature settings. The main difference is that the MIDI tracks do not generate any sound
and the sequencer data is instead transmitted through the MIDI OUT or USB ports.
To use a track as a MIDI track, you must first assign a MIDI machine to it.
1. Press [FUNC] + [SRC] to open the MACHINE menu.
2. Use [LEFT]/[RIGHT] to navigate to the SRC machine category.
3. Use [UP]/[DOWN] to select the MIDI machine, and then press [YES] to assign it to the track.

5.3.3 EDITING THE TRACKS

The six [PARAMETER] keys open parameter pages that are used for editing the tracks.
• The TRIG page contains different parameters such as NOTE, VELOCITY, and other trig related pa-
rameters.
• The SRC page hosts the parameters that deal with machine specific functionality.
• On the FLTR page, you find parameters for the selected filter/EQ machine and the base-width filter on
audio tracks. On MIDI tracks you find the CC value settings and the CC select settings for CC param-
eters 1–8 here.
• The AMP page for audio tracks hosts parameters for the amplitude envelope. On MIDI tracks you find
the CC value settings and the CC select settings for CC parameters 9–16 here.
• The FX page contains the Bit Reduction, Overdrive, Sample Rate Reduction, and the send effects send
levels for audio tracks, The FX page is empty for MIDI tracks.
• The MOD page hosts LFO parameters for the active track.
Use the DATA ENTRY knobs A-H to edit the corresponding parameters. Press and turn a knob to adjust
its parameter in larger increments. Press and hold a [PARAMETER] key to see the values for all param-
eters on that page. For more information, please see "11. TRACK PARAMETERS" on page 53, and
"A.2.6 MIDI" on page 97.

17
6. INTERACTING WITH THE DIGITAKT II

6. INTERACTING WITH THE DIGITAKT II

The screen shows all the information needed for real-time interaction and editing on the Digitakt II. The
eight DATA ENTRY knob parameters shown will vary depending on the given situation. Below is the main
interface screen of the SRC page.

1 2 3 4

9
5
8

1. The current bank and pattern.

2. The current pattern name.
3. The selected TRIG mode.
4. The current tempo.
5. Eight track parameters. They show what the DATA ENTRY knobs control and their current parameter
values.
6. Parameter page indicator. Indicates the number of pages for the selected parameter section and which
page is currently selected.
7. The main level setting of the active track. Use the LEVEL/DATA knob to change the volume setting.
8. The current active track.
9. Track type. Audio (SMP) track or MIDI (MID) track.

The Digitakt II features a screen saver that dims the screen after 5 minutes of inactivity
and turns off the screen after 60 minutes. Press any key or move any controller to wake
the screen.

6.1 SCREEN NAVIGATION

Use the [ARROW] keys [UP], [DOWN], [LEFT] or [RIGHT] to navigate menus or sub-menus.
The LEVEL/DATA knob can be used to scroll through menus and lists quickly.
[YES] is used to affirm, select, enter sub-menus and tick/untick boxes.
[NO] is used to negate, deselect or go back one or more steps.

When in a menu or sub-menu, the [NO] key can be used to go back, one step at a time, all the
way to the main screen.

6.2 PARAMETER EDITING

The DATA ENTRY knobs are used to change the values of the track parameters. The positions of the pa-
rameters on the screen correspond to the physical locations of the knobs on the front panel. Some of the
parameters on the screen tell you what DATA ENTRY knob controls that particular parameter.
For example “(E)” in the PAGE SETUP menu.
• The parameters are adjusted in larger increments if you press down the DATA ENTRY knob while turning
it. This makes it quicker to sweep through the whole parameter range.
• Press DATA ENTRY knob + [NO] to reset the parameter to the default value.
• Press [PARAMETER] key + [PLAY] to reset all the parameters in the selected parameter page to
default values.
• Press and hold a [PARAMETER] key to see the values for all parameters on that page.

18
 6. INTERACTING WITH THE DIGITAKT II

6.2.1 PARAMETER VALUE JUMP

Pressing [FUNC] while editing certain parameters will make the parameter values jump to appropriate
positions. The NOTE parameter, for example jumps between octaves and the delay time jumps between
BPM related tempo settings.

6.2.2 CONTROL ALL

If you press and hold [TRK] and change a parameter setting, this change will affect this parameter in all
the audio tracks in the pattern. Press [NO] before you release [TRK] to revert the parameter changes. .
In the SETUP menu, you have the possibility to select which tracks should be affected by the control all
functionality. For more information, please see "9.8.1 KIT" on page 37.

The control all functionality is not available for the MIDI tracks.

6.2.3 [FUNC] KEY PRESS COMBINATIONS

The standard way to use the [FUNC] key in combination with other keys, is to press and hold [FUNC]
and then make a short press on the second key in the combination.

6.3 QUICK SCROLLING

Scroll through menus using the LEVEL/DATA knob. Quick scrolling is possible on many menus. Press
[FUNC] + the [UP] or [DOWN] keys to move the cursor one menu page.

6.4 COPY, CLEAR, AND PASTE

Copy, clear and paste commands are available in a lot of contexts. Pressing [FUNC] + [RECORD] to copy.
Press [FUNC] + [STOP] to paste. Press [FUNC] + [PLAY] to clear. Paste and clear operations are undone
by repeating the key press combination. Please see the different sections in the manual for more informa-
tion on when these commands are available. For more information, please see "17. KEY COMBINATIONS"
on page 86.

The copy clipboard can only hold one item at a time. When you perform a copy command,
the item copied replaces any earlier copied items. For example, you can not have both a
trig and a pattern copied at the same time.

6.5 THE NAMING SCREEN

The naming method is identical for the various naming situations that appear when you save samples, pre-
sets, projects et cetera.

The [LEFT] and [RIGHT] arrow keys are used to navigate between the characters. Turning the LEVEL/
DATA knob or pressing the [UP] or [DOWN] arrow keys selects the characters. [FUNC] + [NO] erases
characters. [FUNC] + [YES] inserts space. Press [SETTINGS] to create a random name. Press and hold
[FUNC] to access the Pop-up Naming menu.

6.5.1 POP-UP NAMING

A convenient way of naming is to open a pop-up menu that shows all available letters, symbols, and
digits. Press and hold the [FUNC] key when you are on the NAMING screen to access the Pop-up
Naming screen.

19
6. INTERACTING WITH THE DIGITAKT II

Keep [FUNC] pressed and use the [ARROW] keys to highlight the character you want to insert. Once
there, release [FUNC] to add the character.

Copy, paste, and clear commands are available on the NAMING screen.

6.6 OVERBRIDGE
The Overbridge software enables a tight integration between the Digitakt II and a computer DAW software.
When using Overbridge, the user interface for the Digitakt II presents itself as a plug-in window in your
DAW. Access, edit and automate parameters for sound shaping on screen. Always find your device preset
parameters in the same state as you left them when you return to your DAW project, with the useful total
recall functionality.
Read more about Overbridge use and availability on the Elektron website: https://www.elektron.se/overbridge/

Overbridge for Digitakt II is still under development and is not currently available.

6.7 CLASS COMPLIANT DEVICE

The Digitakt II is a class compliant device (also known as plug-and-play). It means it does not require any
extra drivers to connect to your computer or other USB class compliant hosts.
The Digitakt II can, therefore, stream audio and MIDI directly over USB to and from supported computers/
phones/tablets. It opens up several exciting possibilities of what you can do with your device, for example,
record audio from your device directly over USB in your DAW. For more information, please see "14.8.1 USB
CONFIG" on page 81.

6.8 BACKING UP THE DIGITAKT II

It is always recommended to make regular backups of your data. Backups are also a convenient way to
share your projects, Presets, and samples with other users. To make backups and transfer files to and from
your Elektron device, you should use Transfer, a free application that you can download from the Elektron
site https://www.elektron.se/support. The application is available for both Windows and macOS.

6.8.1 BACKING UP PROJECTS, PRESETS AND SAMPLES

You can backup your projects, presets and samples from your Elektron device to a computer. Here is the
general procedure for how to back up your device:
1. Connect the Elektron device to the computer via USB.
2. Open the Transfer application on your computer, and then select the USB MIDI port(s) for your
device on the CONNECTION page, and then click “CONNECT” next to your device under AVAIL-
ABLE DEVICES.
3. In Transfer, click the EXPLORE tab to open the EXPLORE page.
4. On the EXPLORE page top left side of the drop-down menu, make sure “MY COMPUTER” is se-
lected.
5. On the top right side, in the drop-down menu, select the type of file you want to transfer.
6. In the window on the right, navigate to the files or folders you want to transfer
7. Drag and drop the files or folders to your preferred location under “MY COMPUTER.”

20
 6. INTERACTING WITH THE DIGITAKT II

6.8.2 TRANSFERRING BACKED UP FILES TO YOUR ELEKTRON DEVICE

Use the EXPLORE page in Transfer to transfer previously backed up files to your Elektron device from a
computer.
1. Connect the Elektron device to the computer via USB.
2. Open the Transfer application on your computer and then select the USB MIDI port(s) for your device
on the Transfer CONNECTION page. Click “CONNECT” next to your device under AVAILABLE
DEVICES.
3. In Transfer, click the EXPLORE tab to open the EXPLORE page.
4. On the top right side, in the drop-down menu, select the type of file you want to transfer.
5. On the top left side in the drop-down menu, make sure “MY COMPUTER” is
selected.
6. Under “MY COMPUTER,” navigate to the files or folders you want to transfer.
7. Drag and drop the files or folders to your preferred location on your device.
8. Depending on what file type you send, you might encounter pop-up windows asking you to decide
what files you want to send and how you want to organize them.

It is possible to import Digitakt I projects to Digitakt II. However, due to changes in the de-
vice architecture, the patterns in the projects might not be 100% the same in some cases.

21
7. QUICK START

7. QUICK START
This quick start will guide you through some of the basic operations to start using the Digitakt II right away.
First, connect it as described in section "3.3 SETTING UP AND STARTING THE DIGITAKT II" on page 14.

7.1 PLAYING THE FACTORY PRESETS

You can find a number of preset patterns, presets, and samples in the Digitakt II. Follow the instructions
below to get started exploring your new instrument.
1. Press [PTN] and then use the [LEFT]/[RIGHT] keys to select bank A. Then press [TRIG 1] to select
pattern A1.
2. Press [PLAY] to listen to pattern A01.
3. Press [PTN], and then press [TRIG 2] to cue pattern A02. It will start once pattern A01 has reached
its end. Select pattern A03 by pressing [PTN], and then press [TRIG 3], and so on.
4. Press [STOP] to stop playback.

7.1.1 USING KEYBOARD MODE

You can use the [TRIG] keys to play any track chromatically.
1. Select the track to play chromatically by pressing [TRK] + one of the [TRIG 1–16] keys.
2. Press [KEYBOARD] to enter KEYBOARD mode. The [TRIG] keys will light up in a pattern that
resembles an octave of a piano keyboard. Only lit keys are playable.
3. Play the [TRIG] keys. The preset will be pitched differently for each of the playable keys. Press
[KEYBOARD] + [UP]/[DOWN] to transpose the virtual keyboard up or down one octave.
For more information, please see "8.5.1 KEYBOARD MODE" on page 25.

KEYBOARD mode is an effective way to add musical variety to your beats. The timbre,
tonality and impact of playing a preset chromatically depend on the character of the
source preset.

7.1.2 USING MUTE MODE

You can mute any of the sequencer tracks in this mode. Unlike the KEYBOARD mode, it makes no
difference which track is active when this mode is activated. You can access all tracks simultaneously.
1. Make sure a pattern is playing.
2. Press the [FUNC] + [TRK] key to enter MUTE mode.
3. Press any of the [TRIG] keys to mute the corresponding track. Press again to unmute. The light of
the [TRIG] keys indicates the mute status. Unlit keys are muted tracks. Lit keys are active tracks.
For more information, please see "8.5.3 MUTE MODE" on page 26.

7.1.3 TEMPO AND METRONOME

Press the [TEMPO] key to open the TEMPO menu.

TEMPO
To change the BPM setting, open the TEMPO menu by pressing the [TEMPO] key. Use DATA ENTRY
knob A or LEVEL/DATA to change tempo. Pressing the knob while turning it changes the tempo four
BPM at a time. Use DATA ENTRY knob B to change the tempo in decimal steps. You can chose between
a tempo for the whole project or use a separate tempo every pattern. Press and hold the [FUNC], and
then use DATA ENTRY knob E to switch between these modes. On the main interface screen, you can
also press and hold the [ARROW] keys [LEFT] or [RIGHT] to nudge the tempo 10% up or down tempo-
rarily. Release the key to revert to the original tempo.

22
 7. QUICK START

To tap a tempo setting, hold the [FUNC] key and tap the [TEMPO] key in a steady rhythm. After four
consecutive taps the average tempo of the taps will be calculated. By continuing tapping, the average
tempo will keep on updating.
When in the TEMPO menu (and with PROJECT tempo mode selected), holding [FUNC] while turning
DATA ENTRY knob A will not change the tempo to the selected value until the [FUNC] key is released.
While doing this, “PREP.” flash in the bottom left corner of the screen.

Nudging the tempo is very handy when manually syncing Digitakt II to a turntable or an
external sound source. Note that you do not need to be in the TEMPO menu to nudge the
tempo.
DATA ENTRY knob D to adjust the swing setting of the pattern, to employ a propulsive, rhythmic groove.
The swing ratio can be set to 51-80%. The default setting is equal spacing, 50%.

METRONOME
The metronome settings controls the internal metronome of the Digitakt II. Use the DATA ENTRY knobs
to change the settings.

METRO activates/deactivates the metronome.

SIG. controls the note and beat measure of the metronome time signature.
PREROLL controls for how many bars the metronome will sound before the sequencer starts playing.
This setting is only relevant when you are in LIVE RECORDING mode.
VOL controls the volume of the click.

7.1.4 EDITING PARAMETERS

Each track has six PARAMETER pages. Press [PARAMETER] keys TRIG, SRC, FLTR, AMP, FX, and MOD
to access the different PARAMETER pages. These parameters affect the sound and signal in various ways.
1. Make sure a pattern is playing.
2. Press [TRK] + [TRIG] keys 1–16 to select a track.
3. To change, for example, the cutoff of the filter, press the [FLTR] key to open the FILTER page.
The parameter labeled FREQ changes the cutoff of the filter. Turn DATA ENTRY knob E to change
the parameter value, and hear how the sound is affected.
Try out the rest of the PARAMETER page parameters to explore a variety of sound shaping possibilities.

7.2 SAMPLING FROM THE EXTERNAL INPUTS

Digitakt II can also sample audio. It can sample audio from external sources, via the external inputs, and it
can also sample audio internally from the Digitakt II itself.
1. Connect your audio source to the IN L/R inputs of the Digitakt II.
2. Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob A to set
SOURCE to IN L R.
3. Keep an eye on the audio input meter and play the audio source and make sure that the volume of
the audio source is as strong as possible, but without clipping or distorting. Set MON to POST MIX to
monitor the incoming audio through the Digitakt II's mixer and effects.
4. Again, with an eye on the audio input meter, use DATA ENTRY knob D to set THRESHOLD just above
the indicated background noise of the audio source (when it is not playing).
5. Use R.LEN to set the length of the sampling.
6. Switch ARM to ON to arm the sampler and then play the sound source. When the input audio exceeds
the set THRESHOLD level, sampling will start.
7. Press [YES] when you want to stop sampling, or with an R.LEN setting of 1–128, the sampling stops
automatically. The sampling also stops if it reaches the max sampling time (66 seconds). The Digitakt
II then automatically normalizes the sample.
8. Use the DATA ENTRY knobs E and H to set the parameters TRIM START and TRIM END to trim the
sample to the desired length. You can use the DATA ENTRY knob F to zoom in and out to make it
easier to see where to trim the sample. Use [FUNC] + F to zoom vertically. Use knob G to position the
zoom focus area. [FUNC] + G moves the trim selection left or right. When zoomed, pressing [LEFT]
will jump to the START trim point, and [RIGHT] will jump to the END trim point. Press [FUNC] + [YES]
to preview the sample. DATA ENTRY knobs D selects the way the sample will be previewed. One shot,
Looping, One shot (without having to hold the shortcut all the way), Looping (without having to hold

23
7. QUICK START

the shortcut all the way). The preview is played back by the voice of the active track. Make sure to
select an audio track as active track.
9. Press [YES] to save the sample.
10.Name the sample and press [YES] again to confirm the save.
11. Press [TRACK 1–16] to select the track to where you want to assign the sample.
For more information, please see "13. SAMPLING" on page 68.

24
 8. DIGITAKT II CONTROLS

8. DIGITAKT II CONTROLS

8.1 TRIG KEYS

The [TRIG] keys have several uses, including for example, trigging an audio/MIDI track from the active pat-
tern. (When sequencer recording is deactivated). They are also used for placing trigs in GRID RECORDING
mode. When pressed in combination with the [PTN] and [SONG] keys, they select patterns and songs. The
[TRIG] keys light up to indicate the position of placed trigs and to indicate the selected bank and track.

8.2 ROTARY ENCODERS

The MAIN VOLUME is an absolute encoder, spanning roughly 320 degrees from its left extreme to its right
extreme. The LEVEL/DATA and DATA ENTRY knobs (with which you set various parameter values), are
relative encoders which may be spun any number of turns. Pressing and turning these encoders will change
their associated values at a greater speed.

8.3 KEY BEHAVIOR

As a group, the track selection keys ([TRIG] keys) have radio button functionality, i.e. when a new track is
set to be active, the previous one is simultaneously deactivated. Only one track can be selected at a time.
Likewise, the group consisting of the six [PARAMETER] keys have radio button functionality.

8.4 MIDI NOTES

Some functions can be triggered by sending MIDI note values from an external MIDI device (a MIDI key-
board or a computer, for example) connected to the Digitakt II via a standard MIDI cable or a USB 2.0 A to B
connector cable.
Of the 128 notes in the standard MIDI range, Note numbers 0–7 correspond to notes C0 through to G0, the
leftmost octave (which is sometimes called C-2–G-2 in certain applications). These notes will trigger the
preset of track 1 through track 8, respectively (provided they are set to their default channels 1-8). These
notes values map to each of the eight tracks, regardless of which track is active.
MIDI note numbers 12–84, that corresponds to notes C1–C7 (C5, MIDI note 60, being middle C) will trigger
the preset of the active track in any of its 73 chromatic variations (as if played by the [TRIG] keys in KEY-
BOARD mode, see section below), from lowest to highest pitch.
MIDI program change messages 0–127 will select pattern 1–128 (A01–H16) on the Digitakt II. Additionally,
MIDI CC and NRPN messages can be sent to control various aspects of the Digitakt II. For more informa-
tion, please see "APPENDIX B: MIDI" on page 104.

8.5 MODES
There are several modes of operation on the Digitakt II that decides what action the [TRIG] keys perform
when pressed.

8.5.1 KEYBOARD MODE

Press [KEYBOARD] to enter KEYBOARD mode. In this mode, you can play the preset of the active audio
track (or send MIDI notes if you have an active MIDI track). With KB SCALE set to CHROMATIC and KB
FOLD set to OFF the [TRIG] keys will light up in a pattern that resembles an octave of a piano keyboard
layout. Only lit keys are playable. Press [TRK] + [TRIG 1–16] keys to select the track you want to play.
Press the trig keys to change the note pitch of the preset. The range from [TRIG 9] key to [TRIG 16] key
is one octave. The whole note range you can trig for spans a little more than 10 octaves (C0–G10) You
can transpose the keyboard 4 octaves up and 5 octaves down from the middle octave. Press [KEY-
BOARD] + [UP]/[DOWN] to transpose the virtual keyboard up or down in octave steps. With U/D KEY
MODE set to KB OCT, just press [UP]/[DOWN] to transpose the virtual keyboard when you are in KEY-
BOARD mode. For more information, please see "14.7.4 U/D KEY MODE" on page 81.
Notes trigged can be recorded on the sequencer in LIVE RECORDING mode. Find out how this is done in
section "10.2.3 LIVE RECORDING MODE" on page 42.
The active state of KEYBOARD mode (the portion of the keyboard currently visible on the [TRIG] keys)
is not stored per pattern but stays in the state as it was last set.
Press [KEYBOARD] again to exit KEYBOARD mode.

8.5.2 KEYBOARD SETUP MENU

Press [FUNC] + [KEYBOARD] to open the KEYBOARD SETUP menu. Here you get a graphical view of
which notes the [TRIG] keys play. Press [UP]/[DOWN] to transpose the keyboard up or down an octave.

25
8. DIGITAKT II CONTROLS

In this menu, you can also set different musical scales, and select the root note of the scale. Use the
DATA ENTRY knobs to change the settings. Press [NO] to exit the menu. Press [KEYBOARD] again to
exit KEYBOARD mode. The settings are stored in the active pattern.

KB SCALE sets the track’s scale. This setting governs which notes are playable on the Digitakt II’s
[TRIG] keys to allow only notes in the set scale. For a list of all selectable keyboard scales, please see
"APPENDIX D: KEYBOARD SCALES" on page 110.
ROOT NOTE sets the root note for the chosen scale.
KB FOLD When set to ON, KB FOLD changes the way the notes are laid out on the [TRIG] keys and how
they are played from external MIDI devices. Now all the [TRIG] keys trigger a note. The [TRIG 9] key
plays the lowest note of the selected octave, root note and scale. The notes are then played upwards
through the scale to [TRIG 16] and then further upwards on [TRIG 1–8]. When a scale contains less than
eight notes in an octave, the “remaining” [TRIG] keys on the lower row will play the same notes as the
first [TRIG] keys on the upper row. Blue [TRIG] keys signal that they contain notes that are one or more
octaves distanced from each other.
In the following example of the whole tone scale [TRIG 15–16] keys play the same notes as the [TRIG
1–2] keys. [TRIG 1] and [TRIG 15] both plays a note that is one octave above [TRIG 9]. [TRIG 7] plays a
note that is two octaves above [TRIG 9].

You can also use an external keyboard to play the active tracks preset chromatically. Con-
nect the keyboard to the Digitakt II and configure the external keyboard and the Digitakt II
MIDI Auto Channel (SETTINGS > MIDI CONFIG > CHANNELS) to the same MIDI channel.
Then play the keys on the external keyboard to play the active tracks preset chromatically.
You can play the active track’s preset chromatically even if the Digitakt II is not in KEY-
BOARD mode.

All the settings in the KEYBOARD SETUP menu are ignored for a track that uses the
Grid machine and when SLICE is set to NOTE. Instead slices play from C1 and upwards,
wrapping around after the last slice. The first slice is highlighted with a blue [TRIG] key in
KEYBOARD mode.

8.5.3 MUTE MODE

You can use MUTE mode to mute any of the 16 sequencer tracks. Unlike KEYBOARD mode,
it makes no difference which track is active when you enter MUTE mode. All tracks are accessed
simultaneously. Press any of the [TRIG] keys to mute the corresponding track. Press again to unmute.
The color of the [TRIG] keys indicates its tracks mute status. Lit keys signify unmuted tracks. Unlit keys
signify muted tracks.
There are two different versions of MUTE mode on the Digitakt II:
• GLOBAL MUTE MODE In GLOBAL MUTE mode, the muted tracks are muted in all patterns. In this
mode, the [TRACK] keys are lit green. If a track with trigs placed on it is muted in GLOBAL MUTE
mode, its [TRACK] key blinks green when the pattern plays.
Press [FUNC] + [TRK] to enter GLOBAL MUTE mode.
Press [FUNC] + [TRK] to exit GLOBAL MUTE mode.
• PATTERN MUTE MODE In PATTERN MUTE mode, the muted tracks are muted only in the active
pattern. In this mode, the [TRACK] keys are lit magenta. If a track with trigs placed on it is muted in

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 8. DIGITAKT II CONTROLS

PATTERN MUTE mode, its [TRACK] key blinks magenta when the pattern plays.
Press [FUNC] + double-press [TRK] to enter PATTERN MUTE mode.
Press [FUNC] + [TRK] to exit PATTERN MUTE mode.
The GLOBAL MUTE mode settings are saved together with the project. The PATTERN MUTE mode
settings are saved together with the pattern.
If a track with trigs placed on it is muted in PATTERN MUTE and GLOBAL MUTE mode, its [TRACK] key
blinks magenta in both modes when the pattern plays.
You can also prepare tracks for muting/unmuting before the mute action takes effect. While in any MUTE
mode, press and hold [FUNC] and then press the [TRIG] keys corresponding with the tracks you want
to mute/unmute. The selected track will then be muted/unmuted when you release [FUNC]. At the top
of the screen you can see an overview of the mute status for all the tracks. Square = unmuted track,
horizontal line = muted track, a plus sign = a track prepared to be unmuted, an X = track prepared to be
muted.

• You can also use QUICK MUTE to mute and unmute sequencer tracks. Press and hold
[FUNC] and then press the [TRACK] keys to mute or unmute tracks.
• Digitakt II remembers the last used version of MUTE mode and will access this one
first when you press [FUNC] + [TRK]. This also applies to QUICK MUTE. However, after
reboot, it always defaults back to GLOBAL MUTE mode.

8.5.4 TRIG MODE

The various TRIG modes affect the functionality of the [TRIG 1–16] keys. Press [FUNC] + [UP] or
[DOWN] to select which TRIG mode that should be active. The selected TRIG mode is active for all the
tracks. All actions performed using the trig modes can be recorded in LIVE RECORDING mode.

TRACKS
This is the default TRIG mode. In this mode, the [TRIG 1–16] keys triggers the corresponding audio/
MIDI tracks.

VELOCITY
In this TRIG mode, the [TRIG 1–16] keys triggers the active track with different amounts of velocity.
Trig 1 = Velocity 8
Trig 2 = Velocity 16
Trig 3 = Velocity 24
Trig 4 = Velocity 32
Trig 5 = Velocity 40
Trig 6 = Velocity 48
Trig 7 = Velocity 56
Trig 8 = Velocity 64
Trig 9 = Velocity 72
Trig 10 = Velocity 80
Trig 11 = Velocity 88
Trig 12 = Velocity 96
Trig 13 = Velocity 104
Trig 14 = Velocity 112
Trig 15 = Velocity 120
Trig 16 = Velocity 127

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8. DIGITAKT II CONTROLS

RETRIGS
In this TRIG mode, the [TRIG 1–16] keys triggers the active track with different amounts retrig rates.
Trig 1 = Retrig rate 1/1
Trig 2 = Retrig rate 1/2
Trig 3 = Retrig rate 1/3
Trig 4 = Retrig rate 1/4
Trig 5 = Retrig rate 1/5
Trig 6 = Retrig rate 1/6
Trig 7 = Retrig rate 1/8
Trig 8 = Retrig rate 1/12
Trig 9 = Retrig rate 1/16
Trig 10 = Retrig rate 1/20
Trig 11 = Retrig rate 1/24
Trig 12 = Retrig rate 1/32
Trig 13 = Retrig rate 1/40
Trig 14 = Retrig rate 1/48
Trig 15 = Retrig rate 1/64
Trig 16 = Retrig rate 1/80

PRESET POOL
In this TRIG mode, the [TRIG 1–16] keys triggers sixteen preset slots in the preset pool. The first page
triggers the presets in slots 1–16. Press [PAGE] + [RIGHT] to go to page 2 to triggers the presets in
slots 17–32 and so on. Press [PAGE] + [LEFT/RIGHT] to select which slots you wish to trigger. For
more information, please see "9.1 THE +DRIVE LIBRARY AND THE POOL" on page 29.

Incoming MIDI note data are mapped to the tracks in different ways depending on the
chosen TRIG mode.

The RETRIGS and PRESET POOL trig modes only works on audio tracks.

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 9. PATTERNS, KITS, PRESETS, AND SAMPLES

9. PATTERNS, KITS, PRESETS, AND SAMPLES

The patterns are the primary data container for the Digitakt II. Sixteen patterns are available for each of the
eight banks, which means that 128 patterns are available for each project. A pattern contains up to 16 pre-
sets (one for each track), sequencer data like trigs and parameter locks. It also contains the default settings
on the TRIG page and BPM, length, swing and time signature settings.
A kit is a collection of 16 presets, one for every track together with a number of kit related settings. A preset
is either a sample, plus all the settings in the PARAMETER pages (SRC, FLTR, AMP, FX, and MOD) or a
MIDI preset containing settings in the PARAMETER pages (SRC, FLTR, AMP, and MOD). Any preset can be
assigned to any of the 16 tracks.
A preset or kit that has been imported from the +Drive to a pattern becomes part of the active pattern. Any
changes made to a preset/kit will therefore not affect the stored preset/kit. It will only affect the preset/
kit in the active pattern. You can export (and in that way save) a preset/kit from the active pattern to the
+Drive. For more information, please see "9.3 PRESET/KIT MENU" on page 30.
A sample that is used in a preset or a pattern can be renamed or moved and still work as intended. This is
due to a hash function that adds a file specific value to every file, and this value is independent of the file
name or the file’s location in the data structure. However, if you delete a sample, it will not be included in any
presets or patterns anymore.

• When a preset or a kit is imported to a pattern, it becomes a copy of the preset/kit on

the +Drive and is not linked to the original preset/kit stored on the +Drive. Instead, it fully
becomes a part of the pattern.
• If you delete a sample from the +Drive, it will not be included in any presets or patterns
anymore.

A pattern contains:
• A kit.
• Sequencer data such as trigs and parameter locks for the 16 tracks.
• The settings on the TRIG page, BPM, length, swing and time signature settings.

A kit contains:
• 16 audio or MIDI track presets.
• LEVEL settings for the audio tracks and the pattern.
• Compressor and Master distortion settings
• Compressor routing and Control all settings
• Send FX settings
A preset contains:
• A sample (linked from the +Drive), plus the SRC, FLTR, AMP, FX and MOD PARAMETER pages settings
for the audio track. Or, in the case of MIDI presets, the SRC, FLTR, AMP, and MOD PARAMETER pages
settings for the MIDI track.
A sample is:
• A 16 bit, 48 kHz, mono or stereo audio file.

9.1 THE +DRIVE LIBRARY AND THE POOL

The total size of the +Drive is 20 GB. The +Drive library can hold up to 2048 presets (256 presets in each
bank A-H) that are available to all projects. The kits are also stored here. The +Drive library also contains
the samples. You can load up to 400 MB (about 72 minutes in mono, 36 minutes in stereo) of samples to a
project. A sample must be imported to a projects pool, for it to be sample locked.
Presets can be loaded to a pattern from either the +Drive library or the pool (Project RAM) of the active
project. The difference between the two is that the +Drive library has the capacity of 2048 presets, avail-
able to all projects, while the pool is a part of a project and limited to 128 presets. The primary benefit of
presets loaded to the pool is the possibility for them to be preset locked. This feature is not available for the
presets in the +Drive library. For more information, please see "10.8.2 PRESET LOCKS" on page 47.

9.1.1 ADDING PRESETS TO THE POOL

You must first add presets to the pool to be able to perform preset locks.
1. Press [PRESET/KIT] to open the PRESET/KIT menu.
2. Select (PRESET) MANAGE, and then press [YES] to open the PRESET MANAGER.

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9. PATTERNS, KITS, PRESETS, AND SAMPLES

3. Select the presets you want to add to the pool by highlighting them and pressing [YES].
4. Press [LEFT] to open the PRESET SORTING menu.
5. Select ADD TO PRESET POOL and then press [YES].

MIDI presets can not be added to the preset pool

9.2 PRESET BROWSER

Press [FUNC] and then turn LEVEL/DATA to open the PRESET BROWSER. The preset bowser can also
be accessed by pressing [PRESET/KIT], and then selecting (PRESET) LOAD. The PRESET BROWSER is
used to preview and load presets. This menu will show a list of all presets in the +Drive library. Scroll the list
by turning the LEVEL/DATA knob or by pressing [UP]/[DOWN]. Press [LEFT] to open the PRESET SORT-
ING menu and then use the SEL BANK option to select preset bank A–H. Press [FUNC] + [YES] to preview
the preset before you load it to the track. Press [YES] to load the preset to the track.
Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] arrow key to exit the menu.

ADD TO PRESET POOL adds the selected preset to the pool of the active project.
SELECT BANK opens the Preset bank selector. The currently selected bank is shown in parenthesis.
Use the [TRIG 8–16] keys, the [ARROW] keys, or LEVEL/DATA to select bank.
SORT ABC / SORT 123 toggles between if the presets are sorted in alphabetical order or by slot num-
ber.
FILTER opens a list where presets can be arranged according to tags. Select and deselect tags by
pressing [YES]. You can select multiple tags. Exit the tag list by pressing [NO].
SEARCH will perform a text search and list all presets with names matching or including the text input.
For more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.

9.3 PRESET/KIT MENU

Press [PRESET/KIT] to open the PRESET/KIT menu. Here you manage presets (both on the +Drive and in
the pool) and kits. Use the [ARROW] keys and LEVEL/DATA to navigate the menu. Press [YES] to select
menu item. Press [NO] to exit the menu.

9.3.1 LOAD (PRESET)

Use the [ARROW] keys or LEVEL/DATA to select a preset. Press [YES] to load the preset to the active
track. Press [TRK] + [TRIG 1–16] to change active track. Press the tacks [TRIG] key to preview the
highlighted preset before you load it. Press KEYBOARD, and then use the [TRIG] keys to preview the
selected preset in the selected scale.

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 9. PATTERNS, KITS, PRESETS, AND SAMPLES

Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] arrow key to exit the menu.

ADD TO PRESET POOL adds the selected preset to the pool of the active project.
SELECT BANK opens the Preset bank selector. The currently selected bank is shown in parenthesis.
Use the [TRIG 8–16] keys, the [ARROW] keys, or LEVEL/DATA to select bank.
SORT ABC / SORT 123 toggles between if the presets are sorted in alphabetical order or by slot
number.
FILTER opens a list where presets can be arranged according to tags. Select and deselect tags by
pressing [YES]. You can select multiple tags. Exit the tag list by pressing [NO].
SEARCH will perform a text search and list all presets with names matching or including the text input.
For more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.

9.3.2 SAVE (PRESET)

Use this option to save the active tracks preset.
1. Use the [UP]/[DOWN] keys or LEVEL/DATA to select a slot to where you want to save the preset.
2. Press [YES] to save the preset to the selected slot. If the slot already contains a preset you are
asked to confirm the save operation.
3. On the NAMING screen, name your preset and then press [YES]. For more information, please see
"6.5 THE NAMING SCREEN" on page 19.
4. On the TAG screen you can add tags to the preset. The first two will show on the preset list. Press
[YES] to apply or remove tags. Highlight <SAVE> and press [YES] to save.

ADD TO PRESET POOL adds the selected preset to the pool of the active project.
SELECT BANK opens the Preset bank selector. The currently selected bank is shown in parenthesis.
Use the [TRIG 8–16] keys, the [ARROW] keys, or LEVEL/DATA to select bank.
SORT ABC / SORT 123 toggles between if the presets are sorted in alphabetical order or by slot number.
FILTER opens a list where presets can be arranged according to tags. Select and deselect tags by
pressing [YES]. You can select multiple tags. Exit the tag list by pressing [NO].
SEARCH will perform a text search and list all presets with names matching or including the text input.
For more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.
SHOW ALL SLOTS will, when ticked, show all the preset slots both populated and empty. When not
ticked, it only shows empty slots.

9.3.3 MANAGE (PRESET)

Opens the Preset manager. Here presets can be saved, loaded, renamed, tagged et cetera. Opening this
menu will show a list of all presets found in the +Drive library.

Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] key to exit the menu.

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9. PATTERNS, KITS, PRESETS, AND SAMPLES

ADD TO PRESET POOL adds the selected preset to the pool of the active project.
SELECT BANK opens the Preset bank selector. The currently selected bank is shown in parenthe-
sis. Presets in the +Drive library are organized into eight banks, ranging from A to H. Each bank can
contain 256 presets. Use the [TRIG 9–16] keys to view only presets located in a specific bank. Use the
[TRIG 8–16] keys, the [LEFT /[RIGHT] keys, or LEVEL/DATA to select bank.
SORT ABC / SORT 123 toggles between if the presets are sorted in alphabetical order or by slot
number.
FILTER opens a list where presets can be arranged according to tags. Select and deselect tags by
pressing [YES]. You can select multiple tags. Exit the tag list by pressing [NO].
SEARCH will perform a text search and list all presets with names matching or including the text input.
For more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.
SHOW ALL SLOTS will, when ticked, show all the preset slots both populated and empty. When not
ticked, it only shows empty slots.
Press [RIGHT] to access the PRESET OPERATIONS menu. The available operations will affect the high-
lighted preset. Use LEVEL/DATA or the [UP]/[DOWN] arrow keys to navigate the menu. Press [YES] to
apply the commands to the selected preset. Press [NO] or the [LEFT] arrow key to exit the menu.

LOAD TO TRACK loads the selected preset to the active track and makes it a part of the active pattern.
COPY TO BANK copies the selected presets to the first free slots of a specific bank inside the +Drive.
SAVE TO HERE saves the active track preset to the selected slot.
RENAME Opens a screen where you can rename the selected preset.
EDIT TAGS opens a menu where presets can be tagged. presets can have any number of tags, but
only the first two will show on the preset list. Press [YES] to apply or remove tags. Highlight <SAVE>
and press [YES] to save.
DELETE deletes the preset or selected presets.
SELECT ALL selects all presets in the list.
DESELECT ALL deselects all selected presets in the list.
TOGGLE enables or disables write protection for the selected presets. When a preset is write pro-
tected it cannot be overwritten, renamed, tagged or deleted. A write protected preset has a padlock
symbol next to its name. The command is only available when you browse the +Drive library.
SEND SYSEX sends the selected presets as SysEx data.

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• It is also possible to save/load/manage MIDI track presets in the same way as you do with
audio track presets. They will automatically be tagged with the MIDI tag when they are
saved. It is not possible to load a MIDI preset to the preset pool.
• You can preview the currently selected preset by pressing the [TRIG 1–16] key of the active
track. All presets available for the active track can be previewed. Please note that if the
previewed preset is sent to the effects, the current effects settings will affect it.
• Several presets can be simultaneously affected by the commands available in the SOUND
OPERATIONS menu. Select/deselect individual presets by highlighting them and pressing
[YES].
• Press [FUNC] + [UP]/[DOWN] for faster scrolling in the preset list.

9.3.4 POOL
Proves a quick access to the pool in the Preset manager. Here you can manage the preset pool. You can,
among other things add presets, select multiple presets, delete presets, and rename presets.
Press [RIGHT] to access the PRESET OPERATIONS menu. The available operations will affect the high-
lighted preset. Use LEVEL/DATA or the [UP]/[DOWN] arrow keys to navigate the menu. Press [YES] to
apply the commands to the selected preset. Press [NO] or the [LEFT] arrow key to exit the menu.

LOAD TO TRACK loads the selected preset to the active track and makes it a part of the active pattern.
SAVE TO HERE saves the active track preset to the selected slot.
RENAME Opens a screen where you can rename the selected preset.
DELETE deletes the preset or selected presets.
SELECT ALL selects all presets in the list.
SELECT UNUSED selects all presets that are not used in any pattern in the project.
DESELECT ALL deselects all selected presets in the list.

9.3.5 LOAD (KIT)

Use the [ARROW] keys or LEVEL/DATA to select a kit. Press [YES] to load the kit to the active pattern.
Press the [TRIG] keys to preview the highlighted kit before you load it.
Press [LEFT] to access the SORTING menu. Use LEVEL/DATA or the [UP]/[DOWN] arrow keys to
navigate the menu. Press [YES] to execute the commands. Press [NO] or the [RIGHT] arrow key to exit
the menu.

ADD TO POOL adds the kits 16 presets to the to the pool of the active project.
SORT ABC / SORT 123 toggles between if the kits are sorted in alphabetical order or by slot number.
SELECT BANK opens the KIT bank selector. The currently selected bank is shown in parenthesis. Use
the [TRIG 8–16] keys, the [ARROW] keys, or LEVEL/DATA to select bank.
SEARCH will perform a text search and list all kits with names matching or including the text input. For
more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.

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9. PATTERNS, KITS, PRESETS, AND SAMPLES

9.3.6 SAVE (KIT)

Use this option to save the active patterns kit.
1. Use the [UP]/[DOWN] keys or LEVEL/DATA to select a slot to where you want to save the kit.
2. Press [YES] to save the kit to the selected slot. If the slot already contains a kit you are asked to
confirm the save operation.
3. On the NAMING screen, name your kit and then press [YES] to save. For more information, please
see "6.5 THE NAMING SCREEN" on page 19.

Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] arrow key to exit the menu.
ADD TO POOL adds the kits 16 presets to the to the pool of the active project.
SORT ABC / SORT 123 toggles between if the kits are sorted in alphabetical order or by slot number.
SELECT BANK opens the KIT bank selector. The currently selected bank is shown in parenthesis. Use
the [TRIG 8–16] keys, the [ARROW] keys, or LEVEL/DATA to select bank.
SEARCH will perform a text search and list all kits with names matching or including the text input. For
more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.
SHOW ALL SLOTS will, when ticked, show all the kit slots both populated and empty. When not ticked,
it only shows empty slots.

9.3.7 MANAGE (KIT)

Kits can be saved, loaded, renamed, tagged et cetera. Opening this menu will show a list of all presets
found in the +Drive library.

Press [LEFT] to access the SORTING menu. Press [YES] to execute the commands. Press [NO] or the
[RIGHT] key to exit the menu.

ADD TO POOL adds the kits 16 presets to the to the pool of the active project.
SORT ABC / SORT 123 toggles between if the kits are sorted in alphabetical order or by slot number.
SELECT BANK opens the KIT bank selector. The currently selected bank is shown in parenthesis. Use
the [TRIG 8–16] keys, the [ARROW] keys, or LEVEL/DATA to select bank.
SEARCH will perform a text search and list all kits with names matching or including the text input. For
more information, please see "6.5 THE NAMING SCREEN" on page 19 on how to enter text.
Press [RIGHT] to access the KIT OPERATIONS menu. The available operations will affect the highlighted
preset. Press [YES] to apply the commands to the selected kit. Press [NO] or [LEFT] arrow key to exit
the menu.

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 9. PATTERNS, KITS, PRESETS, AND SAMPLES

LOAD TO PATTERN loads the selected kit to the active pattern.

COPY TO BANK Copies the selected kits to BANK (A-H) The kit is copied to the first free slot of a
specific bank inside the +Drive.
SAVE TO HERE saves the active kit to the selected slot.
RENAME Opens a screen where you can rename the selected kit.
DELETE deletes the kit or selected kits.
SELECT ALL selects all kits in the list.
SELECT UNUSED selects all kits that are not used in any pattern in the project from the pool. The
presets are not removed from the +Drive library. Then select DELETE to remove the selected kits
from the project’s pool.
DESELECT ALL deselects all kits in the list.
TOGGLE enables or disables write protection for the selected kits. When a kit is write protected it
cannot be overwritten, renamed, tagged or deleted. A write protected kit has a padlock symbol next to
its name. The command is only available when you browse the +Drive library.
SEND SYSEX sends the selected kit's presets as SysEx data.

9.4 PLAYING A PRESET

Press the [TRIG 1–16] keys to play the presets of the tracks in the active pattern. The [TRIG] keys will brief-
ly light up when pressed.
PLAYING A PRESET WITH AN EXTERNAL MIDI UNIT
The presets can also be played using an external MIDI device connected to Digitakt II. The MIDI channels
for of each of the tracks can be assigned in the MIDI CHANNELS menu, covered in the section "14.4.3
CHANNELS" on page 78. You can also use an external MIDI unit to play a preset chromatically when you
are in KEYBOARD mode. For more information, please see "8.5.1 KEYBOARD MODE" on page 25.

9.5 EDITING A PRESET

Select a track for editing by pressing [TRK] + one of the [TRIG 1–16] keys. When editing the settings of the
track, any changes made will be stored as part of the active pattern.
Adjust the overall volume level of the active audio track with the LEVEL/DATA knob.
Edit a preset by adjusting the parameters found on the PARAMETER pages. Access these pages by
pressing a [PARAMETER] page key. Use the DATA ENTRY knobs A-H to change the parameters. For more
information, please see "11. TRACK PARAMETERS" on page 53.
The complete preset, with all its parameter settings and sample, may be copied to another track. Press
[TRK] + [TRIG 1–16] + [RECORD], and then press [TRK] + [TRIG 1–16] + [STOP] to paste the preset to the
selected track.

9.6 SAVING A PRESET

After you edited the parameters of a preset, you can save it to the +Drive.
1. Press [PRESET/KIT] to open the PRESET/KIT menu.
2. Select PRESET > SAVE, and then press [YES].
3. Turn the LEVEL/DATA knob or use the [UP]/[DOWN] keys to select an empty slot to where you want
to save your preset, and then press [YES].
4. On the NAMING screen, name your sound and then press [YES]. For more information, please see
"6.5 THE NAMING SCREEN" on page 19.

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9. PATTERNS, KITS, PRESETS, AND SAMPLES

5. On the TAGS screen, use the [ARROW] keys and [YES] key to select the appropriate tags for your
sound, and then select <SAVE> and press [YES].

9.7 ASSIGNING A SAMPLE

Any of the 1016 samples loaded to a project may be assigned to a preset on any of the audio tracks. The
user samples can be replaced, relocated and otherwise managed in the SAMPLES menu. For more informa-
tion, please see "13.6 SAMPLES MENU" on page 70.
1. Press [TRK] + [TRIG 1–16] to select a track to assign the sample to.
2. Press [SRC] to open the SOURCE parameter page.

3. Turn DATA ENTRY knob D to bring up a list of the samples in the pool. For more information, please
see "13.6.1 LOADING A SAMPLE" on page 71.

4. Turn the knob counter-clockwise to scroll up the list, clockwise to scroll down the list. Press the
[TRIG] key of the active track while browsing to listen to the sample currently outlined.
5. Press [YES] to select a sample. Press [NO] to exit the list without selecting a sample. Press [FUNC] +
[YES] to go to the selected samples slot in the +Drive.

9.7.1 ASSIGNING A SAMPLE USING THE QUICK ASSIGN METHOD

You can also use the Quick assign method to load a sample to a track and the project’s pool.
1. Press [SRC] to open the SOURCE page, and then turn the knob for the SAMP parameter.
2. While the Sample list is open, press [FUNC] + [YES] to open the SAMPLES menu. For more infor-
mation, please see "13.6 SAMPLES MENU" on page 70.
3. Navigate to the sample you want to load. Any sample can be previewed (played back by the voice
of the active track), just highlight it and then press [FUNC] + [YES]. Approximately, ten seconds of
the sample can be previewed.
4. Highlight the sample, and then press [YES] to load it directly to the track and the project’s pool.

9.8 THE SETUP MENU

Press [FUNC] + [FLTR] to open the SETUP menu. Here you can set a number of track and kit related pa-
rameters. Use the [UP] and [DOWN] arrow keys to move between the options. Press [YES] to confirm your
selection. Press [NO] to exit the menu.

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9.8.1 KIT
Here you can select which tracks that should be affected by control all and set up the track routing to
the compressor.

CONTROL ALL CONFIG

Use the [TRIG] keys to select which tracks that you want to send to be affected by the control all
functionality. MIDI tracks can not be selected. For more information, please see "6.2.2 CONTROL
ALL" on page 19.

COMPRESSOR ROUTING
Use the [TRIG] keys to select which tracks, inputs and effects that you want to send to be affected by
the compressor. MIDI tracks can not be selected. Use the [UP]/[DOWN] to navigate between the two
pages.

9.8.2 TRACK
Here you can set a number of track related parameters. Use the [UP] and [DOWN] arrow keys to move
between the options. Press [YES] to confirm your selection. Press [NO] to exit the menu.

PORTAMENTO
Here you find settings related to the portamento. For more information, please see "10.2 TRIG PA-
RAMETERS PAGE" on page 48.
SLOPE
CONSTANT RATE. The pitch glides linearly at a constant rate. Longer glides take longer time to
complete.
CONSTANT TIME The pitch glides linearly, but the glide is completed in a specific time, regard-
less of the interval between the start and end notes. Glides over wider note intervals, therefore,
have a higher rate.
AMOUNT
This setting enables partial glides where just the final part of the interval is included in the glide. For
example, a setting of 100 gives a full glide from start to finish. Lower values start the glide closer to
the goal pitch.

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9. PATTERNS, KITS, PRESETS, AND SAMPLES

STYLE
GLIDE Ordinary continuous portamento.
GLISSANDO Quantizes the portamento to semitones.
LEGATO ONLY
ON When playing notes, the pitch glides from the pitch of the last note played and held (the key
pressed down and not yet released) to the pitch of the next new note played on the track.
OFF When you play notes, the pitch glides from the pitch of the last note played to the next new
note played on the track.
GATING
OFF The glide continues after the key is released.
ON The glide stops when the key is released.

VELOCITY TO VOL
Selects how MIDI velocity affects volume when playing the Sound from a MIDI keyboard.
OFF means velocity does not affect the volume of the sound.
LOG applies a logarithmic velocity curve. The volume difference are greater between softer key-
board presses than between harder.
LIN applies a linear velocity curve. The volume difference between keyboard presses corresponds
linearly to the force applied.
EXP applies an exponential velocity curve. The volume difference are greater betwe

PITCH BEND DEPTH

Sets how much the pitch bend data from external MIDI devices affects the Digitakt II.

OCTAVE
Sets the base octave of the preset. It also makes preset locking more practical since you can control
the octave setting on the sound and minimize the need to transpose the sequencer notes to make two
or more sounds work together.

LEGATO
In LEGATO mode, the envelopes are not triggered by a subsequent note on/key press if the first note
is still held.

NOTE PRIORITY
Here you can set the note priority, i.e., what note is played if more than one note is played at the same
time. This setting is only available If LEGATO is set to ON.
LAST gives priority to the last note played.
LOW gives priority to the lowest note played.
HIGH gives priority to the highest note played.

PITCH BEND
Opens a menu where you can assign up to four PARAMETER page parameters to the pitch bend.
The pitch bend from incoming MIDI sent to the Digitakt II from external devices affects the assigned
parameters. Press [YES] to open the menu.
You can select parameters from the SYN, FLTR, AMP, FX, and MOD PARAMETER pages. Turn the
DATA ENTRY knobs A–D to select the track parameters that you wish to assign. Press [YES] to con-
firm the selection. Then use DATA ENTRY knobs E–H to set the modulation depth of the four track
parameters. The depth is an offset of the original track parameter value.
Turn LEVEL/DATA to test your settings.

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 9. PATTERNS, KITS, PRESETS, AND SAMPLES

VELOCITY MOD
Opens a menu where you can assign up to four PARAMETER page parameters to the velocity pa-
rameter. Both the VEL parameter on the TRIG menu and the velocity of incoming MIDI notes sent to
the Digitakt II from external devices affects the assigned parameters. Press [YES] to open the menu.
Selecting parameters and setting modulation depth works in the same way as for PITCH BEND.
Turn LEVEL/DATA to test your settings.

MOD WHEEL
Opens a menu where you can assign up to four PARAMETER page parameters to the MIDI mod wheel
command (CC #1). Press [YES] to open the menu. Selecting parameters and setting modulation depth
works in the same way as for PITCH BEND.
Turn LEVEL/DATA to test your settings.

BREATH CONTROLLER
Opens a menu where you can assign up to four PARAMETER page parameters to the MIDI breath
controller command (CC #2). Press [YES] to open the menu. Selecting parameters and setting modu-
lation depth works in the same way as for PITCH BEND.
Turn LEVEL/DATA to test your settings.

AFTERTOUCH
Opens a menu where you can assign up to four PARAMETER page parameters to the MIDI aftertouch
command. Press [YES] to open the menu. Selecting parameters and setting modulation depth works
in the same way as for PITCH BEND.
Turn LEVEL/DATA to test your settings.

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10. THE SEQUENCER

10. THE SEQUENCER

The sequencer of the Digitakt II stores information in patterns. A pattern controls the playback of the tracks
and various pattern-specific aspects of the tracks. Each of the eight banks, A to H, contains 16 patterns,
which means 128 patterns are available for each project. For more information, please see "14.3 PATTERN
MENU" on page 75.
A pattern contains:
• General trig settings on the TRIG page (default note pitch, velocity et cetera).
• The parameter settings on the SCR, FLTR, AMP, FX and MOD pages.
• The settings on the DELAY, REVERB, CHORUS and MIXER pages.
• Quantization settings.
• Note trigs and Lock trigs for all tracks.
• Parameter/Sample/presets locks.
• Length and time signature for the tracks.

10.1 PATTERN OPERATIONS

Digitakt II can seamlessly switch between patterns. This, together with the ability to patterns, is a handy
feature when improvising live. For more information, please see "10.1.3 CHAINS" on page 40.

10.1.1 SELECTING BANK AND PATTERN

Press [PTN] and then use the [LEFT]/[RIGHT] keys to select a bank (if you want to select a pattern
from another bank than the current). Then press [TRIG 1–16] to select a pattern.
There is a secondary way to change bank and pattern, more similar to earlier Elektron devices. Press
[FUNC] + [PTN], and then press [TRIG 9–16] to select a bank. Then press [TRIG 1–16] to select a pat-
tern within that bank.
If you just want to select a pattern within the current bank, press [PTN] + [TRIG 1–16].
Press [PTN] or [NO] to exit bank/pattern selection.
White [TRIG] keys indicate pattern positions that contain data. A red [TRIG] key indicates the current
active pattern. Empty patterns are unlit.
When a pattern is playing, and a new pattern is selected, the new pattern position will be shown flashing
in the upper left corner of the screen. Once the last step of the pattern has played, the new pattern will
start, and the pattern position will cease to flash.

• Patterns can be changed while the sequencer is running.

• Patterns can be changed and queued by sending program change messages.
• It is possible to copy a pattern, and then paste it to one or several locations without
leaving the active pattern. You can also clear one or several non-active patterns.
- To copy, first press [PATTERN]. Then press [TRIG] + [RECORD] to select the pattern
you wish to copy and copy it. Then press [TRIG] + [STOP] to select to where you want
to paste the pattern and past it.
- To clear, first press [PATTERN]. Then press [TRIG] + [PLAY] to select the pattern you
wish to clear and clear it.

10.1.2 PATTERN CONTROL

Press [PLAY] to start the playback of a pattern. Press [STOP] to stop the playback of all tracks. The
sound will be cut off, but effects like Delay will continue to be audible until the delay repeats have faded
out. When the sequencer has stopped, quickly press [STOP] + [STOP] to stop playback of all tracks and
get just a short fade out the send effects.
When a pattern is playing press [PLAY] to pause the playback. Press [PLAY] to resume the playback.
If a pattern contains more than 16 sequencer steps, the <PATTERN PAGE> LEDs will indicate this. When
a pattern is playing, the currently active pattern page is shown with a flashing, <PATTERN PAGE> LED.

10.1.3 CHAINS
Chains are sequences that consist of more than one pattern. You can use chains to preselect and auto-
mate in what order you want your patterns to play.

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 10. THE SEQUENCER

You can create one chain and it can contain any pattern in bank A–H. The chain can consist of up to 64
patterns.
1. Press [PTN], and then press [FUNC] + [YES] to open the chain creator screen.
2. Use the [LEFT]/[RIGHT] keys to select a bank (if you want to select a pattern from another bank
than the current). Then press [TRIG 1–16] to select a pattern. Repeat until you have created the
desired chain.
3. (Optional) Press [FUNC] + [LEFT] to delete the last pattern from the chain.
4. Press [YES] to confirm the pattern chain and close the chain creator screen. Press [NO] if you
wish to cancel the pattern chain and close the chain creator screen.
5. Press [PLAY] to start the sequencer and play the chain. The chain will be looped once the final
pattern of the chain has played.
To exit chain mode, select a pattern or song using the normal selection process.
There is also a legacy procedure for how you create chains that also can be used.
1. Press and hold [PTN] and then press a [TRIG 1–16] key to select the first pattern in the chain.
2. Release the [PTN] key and then press [TRIG 1–16] keys in the same order as you want the chained
patterns to play. Keep a previous [TRIG] key pressed while you press the next one, the one after
that and so on. You can press the same [TRIG] key again if you wish to add the pattern multiple
times in a row. If you want to add a pattern from another bank, use the [LEFT]/[RIGHT] keys to
select a bank and then press [TRIG 1–16] to select pattern.
3. Press [PLAY] to start the sequencer and play the chain. The chain will be looped once the final
pattern of the chain has played.

Please note that the chain will be lost when you create a new chain or when you select a new
pattern/song. Chains cannot be saved and will be lost when you switch the Digitakt II off.

• Chains can be created while the sequencer is running.

• You can also use MIDI program change messages from an external device to change
patterns on the Digitakt II. For more information, please see "14.4.1 SYNC" on page 76.

10.2 EDITING A PATTERN

Digitakt II offers three main modes of input when creating or editing a pattern, GRID RECORDING mode,
LIVE RECORDING mode, and STEP RECORDING mode. In these modes, two types of trigs can be entered:
Note trigs and Lock trigs.

10.2.1 TRIG TYPES

A trig is a sequencer event that you can place when you want the sequencer to perform an action on the
Digitakt II. There are two types of trigs that you can use, note trigs and lock trigs.
• NOTE TRIGS trigger presets or MIDI notes.
• LOCK TRIGS trigger parameter locks (but does not trigger notes). For more information, please see
"10.8.1 PARAMETER LOCKS" on page 47.
Note trigs are indicated by red [TRIG] keys and lock trigs are indicated by yellow [TRIG] keys. Unlit
[TRIG] keys indicate steps that does not contain any trigs. Read more about parameter locks in section
"10.8.1 PARAMETER LOCKS" on page 47. Trigs are added differently in the sequencer, depending on
whether GRID RECORDING, LIVE RECORDING, or STEP RECORDING mode is active.

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10. THE SEQUENCER

10.2.2 GRID RECORDING MODE

GRID RECORDING is a method of composing where you use the [TRIG] keys to add trigs.
1. Press [RECORD] to enter GRID RECORDING mode. The [RECORD] key lights up red to indicate
that GRID RECORDING mode is active.
2. Select the track to which you want to add trigs by pressing and holding [TRACK] and then one of
the [TRIG] keys. A red [TRIG] key indicates the active track.
3. Place note trigs on the sequencer using the sixteen [TRIG] keys. To add a lock trig, press [FUNC] +
[TRIG]. Quickly pressing the [TRIG] key of any of the trigs entered will remove the trig. Pressing a
[TRIG] key and holding it slightly longer will prepare the trig for editing, rather than removing it.
4. Select another track, and add note trigs. Repeat the procedure for all the tracks you want to use.
5. Press [PLAY] to listen to the sequence.
Add micro timing to a note trig by pressing and holding the [TRIG] key while pressing [LEFT]/[RIGHT].
For more information, please see "10.4 MICRO TIMING" on page 45.
Set the retrig speed by pressing and holding the [TRIG] key while pressing navigating to TRIG PAGE 2
keys where you can make various retrig settings. For more information, please see "10.5 RETRIGS" on
page 45, and "11.3 TRIG PAGE 2" on page 54.
If the pattern contains more than 16 steps, select the pattern page you want to edit by pressing the
[PAGE] key. A fully lit <PATTERN PAGE> LED shows the active pattern page.
Press [RECORD] to exit the GRID RECORDING mode.

• If your pattern has more than one page you can easily select which page you want to
edit. Press and hold [PAGE], and then press one of the [TRIG] keys that light up to
select the active page for editing. You can also cycle through the pages with the [LEFT]
and [RIGHT] keys. For more information, please see "10.7 PAGE SETUP MENU" on page
45.
• You also have the possibility to select which pages of your pattern you want the se-
quencer to play and loop. The selected pages are then looped on playback.
In GRID RECORDING mode, press and hold [PAGE], and then press [TRIG 9–16] to
select which patterns pages you want to play and loop. Green [TRIG] keys shows the
selected pages. The [TRIG 9–16] keys corresponds to pattern page 1–8. For example,
you have an eight page pattern and you want to play and loop page 1, 2,5, and 7. To
accomplish this, press and hold page and then press [TRIG 9, 10, 13, 15]. Press and hold
[PAGE] and then press [NO] to resume normal playback of all pages in the pattern.
• You can use an external MIDI controller such as a keyboard to input NOTE and TRIG
VELOCITY data when you are in GRID RECORDING mode Just press and hold a [TRIG]
key, and then play a note on the external keyboard. On MIDI tracks, you can add up to a
four note chord to every trig. The first note sets the TRIG VELOCITY value for all notes
on the trig.
• Press [TRIG] + [YES] to preview a specific trig. The preview includes any parameter
locks you have placed on that trig.
• If you use an external MIDI controller to record to the Digitakt II MIDI tracks, the se-
quencer receives data on the Auto MIDI channel and records on the active track. For
more information, please see "14.4.3 CHANNELS" on page 78.
• All trigs of a track can be shifted forwards or backward on the sequencer. While in GRID
RECORDING mode, hold down [FUNC] while pressing the [LEFT] or [RIGHT] arrow
keys to perform the trig shift.

10.2.3 LIVE RECORDING MODE

LIVE RECORDING mode is the second method of adding trigs to the tracks. In this recording mode, the
[TRIG] keys are played in real time to input trigs to the tracks. You can also use KEYBOARD mode to
add note trigs chromatically. Additionally you can and add velocity, retrigs, och changing presets using
the TRIG modes. It is also possible to enter parameter locks in real time. Trigs input in LIVE RECORDING
mode can be automatically quantized or not. Non-quantized trigs can be quantized after they are record-
ed, by using the QUANTIZE menu that is accessed by pressing [FUNC] + [TRIG]. For more information,
please see "10.6 QUANTIZE MENU" on page 45.
1. Press and hold [RECORD], then press [PLAY] to enter LIVE RECORDING mode. (Press [PLAY]
twice while keeping the [RECORD] key pressed to activate/deactivate automatic quantization.) The
sequencer starts to play, and the [RECORD] key starts to flash red.

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 10. THE SEQUENCER

2. Enter trigs in real time by pressing the [TRIG] keys. If KEYBOARD mode is active, the pitch value
of the note trig will be recorded according to which [TRIG] key is pressed for the active track. Any
changes to PARAMETER page settings, using the DATA ENTRY knobs, will be recorded as parame-
ter locks and add lock trigs where needed.
3. Press [PLAY] to exit LIVE RECORDING mode while keeping the sequencer playing. If LIVE RE-
CORDING mode is active and [RECORD] is pressed, GRID RECORDING mode will be activated.
4. Press [STOP] to stop both recording and playback of the sequencer.
To exit LIVE RECORDING mode while keeping the sequencer playing, press [PLAY].

You can use an external MIDI controller such as a keyboard to input NOTE, TRIG
VELOCITY, and TRIG LENGTH data in LIVE RECORDING mode. Just play the notes on the
external keyboard and they will be recorded by the sequencer. On MIDI tracks, you can
add up to a four note chord to every trig. The first note sets the TRIG VELOCITY value for
all notes on the trig. The last note that is released sets the TRIG LENGTH for all notes on
the trig.

10.2.4 STEP RECORDING MODE

STEP RECORDING is a quick and straightforward method of placing trigs on the sequencer. In this re-
cording mode, you insert notes by pressing the [TRIG] keys or an external MIDI controller. The sequenc-
er then captures the note and automatically advances to the next step. There are two different modes
available, STANDARD mode and JUMP mode.
STANDARD mode
1. Press [RECORD] + [STOP] to enter STEP RECORDING mode. The [RECORD] key starts to
double-blink red. (Press [STOP] twice while keeping the [RECORD] key pressed to toggle between
STANDARD and JUMP mode).
2. Press a [TRIG] key to select the active step to where you want to start to add note trigs. The active
step is shown with a green [TRIG] key that double-blinks. (If positioned on an earlier placed trig, it
inherits the light pattern of that trig). You can also use [LEFT]/[RIGHT] to select the active step or
skip steps.
3. Press and hold [FUNC] and then press [TRIG 1–16] key to add a note trig on the corresponding
track to the active step. The active step then automatically advances to the next step.

You also have the option to add note trigs chromatically on the selected active track.

4. Press [TRK] + [TRIG 1–16] to select the track to which you want to add trigs. A red [TRIG] key
indicates the active track.
5. Press [KEYBOARD] to toggle the chromatic mode keyboard on
6. Press and hold [KEYBOARD] and then press any lit [TRIG] key to add a note trig with the corre-
sponding note value to the selected step. The active step then automatically advances to the next
step. You can use [UP]/[DOWN] to transpose the chromatic keyboard on the [TRIG] keys up or
down in octaves.
7. To remove a trig or to add a rest (no trig), position the active step on the trig that you want to
remove or add a rest to, and then press [NO]. The active step then automatically advances to the
next step.
8. To add a parameter lock to a trig, press and hold a [TRIG] key, and then turn the DATA ENTRY
knob that controls the parameter you want to lock and set it to the desired value. The graphics
become inverted for the locked parameter, and the locked parameter value is displayed. The [TRIG]
key of the locked trig blinks red (for note trigs) or yellow (for lock trigs) to indicate that the trig now
contains a parameter lock.
9. Press [RECORD] to exit STEP RECORDING mode.

JUMP mode
In JUMP mode, the LEN parameter setting on the TRIG PARAMETER page controls the note length of
the trigs you place, and advances the active step the same length. A LEN value of 1/16 adds a sixteenth
note and advances the sequencer one step. 1/8 adds an eighth note and advances the sequencer two
steps. 1/4 adds a quarter note and advances the sequencer four steps and so on. The LEN parameter is
also parameter locked on every trig you place.

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• Press [PLAY] to listen to the sequence while you are programming it. Press [STOP] to
stop the sequencer and stay in STEP RECORDING mode.
• If you use an external MIDI controller, you must set it to send MIDI data on the Digitakt
II’s defined AUTO CHANNEL. For more information, please see "14.4.3 CHANNELS" on
page 78.
• If you use an external MIDI controller, the trig’s VEL (velocity) value is determined by the
velocity sent from these and is parameter locked.
• If you press and hold [FUNC] while inputting notes from an external MIDI controller, the
velocity is fixed and determined by the VEL parameter setting.
• If you press and hold [YES] while you place a trig with [TRIG] keys or an external MIDI
controller, the trig length is locked to the time you press the [TRIG] keys or the external
MIDI controller.
• If you add a new note trig on a previously placed note trig, any parameter locks previ-
ously placed on that trig remain as they were.
• In STEP RECORDING mode, to avoid accidental key presses, [FUNC] + [NO] does not
reload the pattern. [FUNC] + [YES] does not save the pattern. Instead they work as
described above.

10.3 SEQUENCER MENU (EUCLIDEAN MODE)

The Euclidean sequencer mode uses two separate pulse generators to generate events (trigs) that are
placed as evenly spread out over the sequencer track as possible. In addition to this you can also set a
Boolean logic operator to combine or subtract the trigs from the two pulse generators in different ways.
When you turn on Euclidean mode for a track, the [REC] button will turn blue indicating the mode is ac-
tive, and the [TRIG] keys where the generated trigs are placed will also be blue. Any trigs placed on the
sequencer before activating the Euclidean mode will be hidden and inactive while in this mode, but they’ll
reappear when you turn the mode off again. If you want to convert an Euclidean sequence into regular
sequencer trigs, just press and hold [FUNC] while turning the Euclidean mode off. Any earlier placed
trigs, while not in Euclidean mode, will be removed. While in Euclidean mode, it is not possible to add note
trigs manually to the sequencer. However, you can still do parameter locking on the already generated
trigs.
Press [FUNC] + [AMP] open the SEQUENCER menu.

PL1 Pulse generator 1 sets the number of pulses (trigs) placed on the sequencer by this generator.
PL2 Pulse generator 2 sets the number of pulses (trigs) placed on the sequencer by this generator.
LEN Track length sets how many steps the track will have. This parameter is only available in PER
TRACK mode. For more information, please see "10.7 PAGE SETUP MENU" on page 45.
EUC Euclidean mode switches the Euclidean sequencer mode on/off.
R01 Rotation generator 1 rotates the trigs placed by generator 1 forward or backwards on the track.
R02 Rotation generator 2 rotates the trigs placed by generator 2 forward or backwards on the track.
TRO Track rotation rotates the trigs placed by both generator 1 and generator 2 forward or backwards
on the track.
OP Boolean operator lets you add or subtract the trigs generated from the two pulse generators in
different ways based on mathematical logical expressions.
OR all trigs from both generator 1 or 2 are placed the track.
XOR trigs from both generator 1 or 2 are placed on the track unless they are added to the same
sequencer step.

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 10. THE SEQUENCER

AND only trigs added to the same sequencer step by generator 1 and 2 are placed on the track.
SUB trigs from generator 1 are placed on the track unless generator 2 adds a trig on the same step
as generator 1.

10.4 MICRO TIMING

Here you can add micro timing to a note trig, moving it ahead or behind the beat. Micro timing can be
customized on any of the sequencer steps on both audio and MIDI tracks. In GRID RECORDING mode,
press and hold one or several [TRIG] keys and then press [LEFT]/[RIGHT] to access the pop-up Micro
timing menu that shows the time offset for the chosen sequencer step(s) on the active track. Press [LEFT]/
[RIGHT] to adjust the time offset. To exit the MICRO TIMING menu, release the [TRIG] key(s). The micro
timing settings are stored in the active pattern.
For more information about the parameters on this page, please see "11.2 TRIG PAGE 1" on page 53

10.5 RETRIGS
Retrigs can be customized on any of the sequencer steps on the audio tracks (the retrig function is not
available on the MIDI tracks). In GRID RECORDING mode, press [TRIG PARAMETERS] twice to access the
RETRIG PARAMETERS page. Hold one or several [TRIG] keys and then set the desired retrig options for
the trig(s).
For more information about the parameters on this page, please see "11.3 TRIG PAGE 2" on page 54.

10.6 QUANTIZE MENU

The quantization affects all micro timed and off grid trigs on the sequencers tracks. Press [FUNC] +
[TRIG PARAMETERS] to access this menu. Change settings with DATA ENTRY knob E and H.

TRACK affects all the trigs of the active track in real time. The higher the quantize value, the more the
trigs will be quantized. Press [TRIG 1–16] key to select track to quantize.
PATTERN affects all the trigs of all tracks in the pattern in real time. The higher the quantize value, the
more the trigs will be quantized.
Press [NO] to exit the menu.

10.7 PAGE SETUP MENU

You can set the length and timing of the pattern and the tracks in this menu. The sequencer has up to 128
steps spread over 8 pages with 16 steps each. The PAGE SETUP menu has two modes. In PER PATTERN
mode all tracks share the same length. In PER TRACK mode, each track can have different lengths. Press
[FUNC] + [PAGE] to access the PAGE SETUP menu. Press [FUNC] + [YES] to toggle between the two
modes. Use the DATA ENTRY knobs to adjust the settings.

10.7.1 PER PATTERN MODE

In this mode, all tracks of the pattern share the same length and time signature.

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10. THE SEQUENCER

LENGTH sets the amount of steps on the current pattern page. The leftmost number displays the
number of steps on the active pattern page. The total length, displayed by the second number, deter-
mines the maximum number of steps available in the pattern. If you use 17 steps or more in a pattern,
the [PAGE] key is (while in GRID RECORDING mode) used to toggle between the different pattern
pages.
SPEED controls the speed of pattern playback in multiples of the current tempo. It offers seven pos-
sible settings, 1/8X, 1/4X, 1/2X, 3/4X, 1X, 3/2X and 2X. A setting of 1/8X plays back the pattern at one-
eighth of the set tempo. 3/4X plays the pattern back at three-quarters of the tempo; 3/2X plays back
the pattern twice as fast as the 3/4X setting. 2X makes the pattern play at twice the BPM.
When you extend the length of a pattern, its trigs copies automatically over to the new steps. If a pattern
consists of for example two pages and the pattern length is increased to four pages, the two additional
pattern pages are then copies of the first two pattern pages.
Press the [PAGE] key repeatedly to change the total length of the pattern quickly. Press the [TRIG] keys
to change the number of steps of the pattern quickly.
A 2X speed setting is useful for increasing the base resolution of the step sequencer to 32nd notes. A
3/4X setting is useful when Digitakt II is playing alongside other instruments set to the same BPM, and
you want Digitakt II to play triplets.

10.7.2 PER TRACK MODE

In this mode, you can assign individual length and speed to the tracks of the pattern. Press [FUNC] +
[YES] to switch between the two modes. In PER TRACK mode, two columns exist, TRACK and PAT-
TERN.

The TRACK column sets the step length and speed of the track. The settings only affects the active track.
The PATTERN column sets the master change length and the master length of the pattern.
LENGTH sets the amount of steps on the current pattern page. The leftmost number displays the
number of steps on the active pattern page. The total length, displayed by the second number, deter-
mines the maximum number of steps available in the pattern. If you use 17 steps or more in a pattern,
the [PAGE] key is (while in GRID RECORDING mode) used to toggle between the different pattern
pages.
SPEED controls the speed of pattern playback in multiples of the current tempo. It offers seven pos-
sible settings, 1/8X, 1/4X, 1/2X, 3/4X, 1X, 3/2X and 2X. A setting of 1/8X plays back the pattern at one-
eighth of the set tempo. 3/4X plays the pattern back at three-quarters of the tempo; 3/2X plays back
the pattern twice as fast as the 3/4X setting. 2X makes the pattern play at twice the BPM.
CHANGE (Pattern Change) controls for how long the active pattern plays before it changes to a cued
or chained pattern. This setting is important when, for example, you set RESET to INF. Then, if you do
not make any CHANGE setting, the pattern plays infinitely and the next cued pattern will never play. By
default a cued pattern change happens at the end of the pattern (CHANGE set to OFF).
RESET (Pattern Reset) controls the number of steps the pattern plays before all tracks resets and re-
starts from the first step on the first page. An INF setting makes the tracks of the pattern loop infinite-
ly, without ever being restarted. Note that this setting also affects for how long the active pattern plays

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 10. THE SEQUENCER

before a chained pattern starts playing. The CHANGE parameter overrides this if its parameter value
is less than the RESETS value.

In the PAGE SETUP menu, you can press [FUNC] + [UP]/[DOWN] to set the TRACK
LENGTH in increments from 2/16 to 128/128.

10.8 SEQUENCER FEATURES

10.8.1 PARAMETER LOCKS
Parameter locks makes it possible to set every trig to have its own unique parameter values. The note
trigs of an audio track can, for example, have different pitch, amp or filter settings. It is possible to pa-
rameter lock the parameters found on the PARAMETER pages, and you can apply parameter locks to
all types of tracks. For a complete overview of all parameters on the PARAMETER pages, please see "11.
TRACK PARAMETERS" on page 53, and "A.2.6 MIDI" on page 97.
Adding parameter locks in GRID RECORDING mode.
1. Press [RECORD] to enter GRID RECORDING mode.
2. Press a [TRIG] key to add a Note trig or [FUNC] + [TRIG] key to add a Lock trig and to where you
want to perform a parameter lock.
3. Press and hold the [TRIG] key of a previously placed trig (note trig or a lock trig).
4. Turn the DATA ENTRY knobs that control the parameter you want to lock, and set it to the desired
value. The graphics become inverted for the locked parameter, and the locked parameter value is
displayed. The [TRIG] key of the locked trig blinks red (for note trigs) or yellow (for lock trigs) to
indicate the trig now contains a parameter lock.
Remove a single parameter lock by holding [TRIG] + pressing the DATA ENTRY knob of the locked pa-
rameter. You can erase all parameter locks from a trig if you remove the note trig and then enter it again.
Adding parameter locks in LIVE RECORDING mode.
1. Press and hold [RECORD], then press [PLAY] to enter LIVE RECORDING mode.
2. Turn a DATA ENTRY knob, or play the [TRIG] keys in KEYBOARD mode, to add parameter locks to
the active track. Note trigs are placed, and parameter locked accordingly, and it also places lock
trigs that contains the parameter locks on the sequencer steps that do not already have any trigs.
Press [NO] + one (or several) of the [TRIG] keys to erase a sequence of recorded trigs on a specific
track (or on several tracks) in time with the sequencer, i.e. all steps reached on the pattern playing will be
erased until the keys are released.
You can also remove specific parameter locks on a track in real time. In LIVE RECORDING mode, press
and hold [NO] and then press and hold the DATA ENTRY knob corresponding to the parameter that you
want to remove.
Adding parameter locks in STEP RECORDING mode.
1. Press and hold [RECORD], then press [STOP] to enter STEP RECORDING mode.
2. Press and hold a [TRIG] key, and then turn the DATA ENTRY knobs that control the parameter you
want to lock, and set it to the desired value. The graphics become inverted for the locked param-
eter, and the locked parameter value is displayed. The [TRIG] key of a locked trig blinks red (for
note trigs) or yellow (for lock trigs) to indicate that the trig contains a parameter lock.

• Up to 80 different parameters can be locked in a pattern. A parameter counts as one (1)

locked parameter no matter how many trigs that lock it. If for example the cutoff param-
eter of the filter is locked on every sequencer step, there are still 79 other parameters
that can be locked.
• In GRID RECORDING mode, if you press and hold a trig that contains parameter locks,
the [PARAMETER] page keys lights up in red to show where parameters with parameter
locks applied resides.

10.8.2 PRESET LOCKS

You can change a track's preset to another preset from the pool on any individual sequencer step. These
preset locks are an immensely useful feature for adding variations to a track. Press and hold a note trig
and turn the LEVEL/DATA knob to open the pool list. Use the LEVEL/DATA knob to scroll through the
list. Select the preset you want to assign to the note trig and then release the [TRIG] key. Press and
hold the [TRIG] key of the note trig to show the assigned preset. For more information, please see "9.3.1

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10. THE SEQUENCER

LOAD (PRESET)" on page 30. For more additional information, please see "9.1.1 ADDING PRESETS
TO THE POOL" on page 29.

10.7.3 TRIG CONDITIONS AND CONDITIONAL LOCKS

Trig conditions are a set of conditional rules that you can apply to any trig, using specific parameter locks
called conditional locks. Each rule is a logical condition that determines whether a trig set on a track in
the sequencer is triggered or not. If the condition is true, then the trig will play. If the condition is false,
the trig will not play.
ADDING A CONDITIONAL LOCK
1. In GRID RECORDING or STEP RECORDING mode, place a note trig or lock trig on the sequencer
step to where you want to apply a conditional lock.
2. Press and hold the trig to access the COND (Trig Condition) parameter on the TRIG PAGE 1. For
more information, please see "11.2 TRIG PAGE 1" on page 53.
3. Turn DATA ENTRY knob H to select one of the following trig conditions:
PRE is true and the trig plays if the most recently evaluated trig condition on the same track was true.
(PRE and PRE conditions are ignored and not evaluated.)
PRE is true when PRE is false. A trig with this trig condition plays if the most recently evaluated trig
condition on the same track was not true. (PRE and PRE conditions are ignored and not evaluated.)
Example 1: Trig 1, 50% = True > Trig 2, PRE = False > Trig 3, PRE = False > Trig 4, PRE = True
Example 2: Trig 1, 50% = False > Trig 2, PRE = True > Trig 3, PRE = True > Trig 4, PRE = False
NEI is true and the trig plays if the most recently evaluated trig condition on the neighbor track was
true. (PRE and PRE conditions on the neighbor track are ignored and not evaluated.) The neighbor
track is the track before the active track. For example, track 3 is the neighbor track of track 4. NEI
and NEI conditional trigs on track 4 therefore evaluate the conditional trigs placed on track 3. The NEI
condition is false if no conditional trigs exist on the neighbor track.
NEI is true when NEI is false. A trig with this trig condition plays if the most recently evaluated trig
condition on the neighbor track was not true. (PRE and PRE conditions on the neighbor track are
ignored and not evaluated.)
1ST The trig plays the first time the pattern plays (when looped).
1ST The trig does not play the first time the pattern plays (when looped).
LST The trig plays the last time the pattern plays before changing to another pattern.
LST The trig does not play the last time the pattern plays before changing to another pattern.
A:B A sets how many times the pattern (or track, if the track length is shorter than the pattern length)
plays before the trig condition is true. B sets how many times the pattern (or track, if the track length
is shorter than the pattern length) plays before the count is reset and starts over again. This cycle
then repeats until you stop the sequencer.
For example:
With the setting 1:2, the trig plays the first time the pattern plays and then the third, the fifth, and so on.
With the setting 2:2, the trig plays the second time the pattern plays and then the fourth, the sixth, and
so on.
With the setting 2:4, the trig plays the second time the pattern plays and then the sixth, the tenth, and
so on.
With the setting 4:7 the trig plays the fourth time the pattern plays and then the eleventh, the eigh-
teenth, and so on.
A:B is true when A:B is false. Meaning a trig with this condition plays when the set condition of pattern
plays are not met.
For example:
With the setting 2:4, the trig does not play the second time the pattern plays and then the sixth, the
tenth, and so on.

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 10. THE SEQUENCER

• The FILL trig condition has a separate parameter on TRIG PAGE 1. For more informa-
tion, please see "11.2 TRIG PAGE 1" on page 53.
• The sequencer needs to be in FILL mode to activate the conditional lock called FILL.
For more information, please see "10.8.4 FILL MODE" on page 49.
• Conditional parameter locks are a great way to add variety to a pattern. To set up a grid
of mutually exclusive or conclusive note trigs across any of the tracks, and adding some
probability locks in there as well (perhaps, in turn, also sporting an array of logically
conditioned trigs), is a neat way to make the most minimal of compositions come alive
with randomness.
• They may also be used, for example, to have two different melodic or percussive se-
quences on the same track, one of which is activated only when FILL mode is active.

10.8.4 FILL MODE

FILL mode can be used to create a temporary variation, such as a drum fill, in your pattern.
Press [YES] + [PAGE] to activate FILL mode for one pattern cycle. It will become active when the pat-
tern loops, and remain active until it loops again. You can also activate FILL mode at any time, and for any
duration, by pressing and holding the [PAGE] key when the pattern is playing (GRID RECORDING mode
cannot be active). The FILL mode is active for as long as the key is held.
Press and hold [PAGE] + [YES], and then release [PAGE] before you release [YES] to latch FILL mode.
Press [PAGE] again to unlatch FILL mode.

10.8.5 COPY, PASTE AND CLEAR OPERATIONS

Patterns, tracks, track pages, parameter pages, and trigs can be copied, pasted and cleared.
The active pattern can be copied to another location in the same bank or in another bank. To perform
a pattern copy operation, GRID RECORDING mode must be deactivated. Copy the pattern by pressing
[FUNC] + [RECORD]. Select another pattern, and then press [FUNC] + [STOP] to paste the copied
pattern to this location. Press [FUNC] + [PLAY] to clear all the trigs in the current pattern.
Individual sequencer tracks can be copied, pasted and cleared in the same way as patterns. To do so,
GRID RECORDING mode must be active.
A single track page may also be copied, pasted and cleared. It is similar to copying/pasting/clearing a
track, but will only affect the active track page. Select the track page of choice by pressing the [PAGE]
key. Copy by pressing [PAGE] + [RECORD]. Select a new track page and press [PAGE] + [STOP] to
paste. Press [PAGE] + [PLAY] to clear the active track page.
A single parameter page with all it's settings may also be copied, pasted and cleared. Select the pa-
rameter page you wish to copy by pressing a [PARAMETER] key. Copy by pressing [PARAMETER] +
[RECORD]. Select a new track and then press the same [PARAMETER] page + [STOP] to paste. Press
[PARAMETER] + [PLAY] to clear the parameter page.
Trigs, complete with all parameter lock settings, can be copied, pasted and cleared as well. GRID
RECORDING mode needs to be active to access this functionality. Press and hold a trig and press
[RECORD] to perform the copy operation. Paste by holding another [TRIG] key and pressing [STOP].
It is also possible to copy more than one trig. Press and hold the trigs you wish to copy, and then press
[RECORD]. Press and hold the [TRIG] key to where you want to paste, and then press [STOP] to paste
the copied sequence of trigs. When pasting, the copied trigs are placed in the same relation to each
other as they had when they were copied. The destination trig acts as the starting point for the sequence
of copied trigs. Clear trig locks by holding one or more trigs and press [PLAY].
You can undo any copy, paste, and clear operation by repeating the key presses.

It is possible to copy, clear and paste one or several patterns without leaving the active
pattern. First press [PTN], then press [TRIG] + [RECORD] to select the pattern you wish
to copy and copy it. Then press [TRIG] + [STOP] to paste the copied pattern to where you
wish to paste it. Press [TRIG] + [PLAY] to clear the selected pattern.

10.8.6 TEMPORARY SAVE AND RELOAD PATTERN COMMANDS

Patterns can instantly be saved to a temporary memory space and then reloaded again from this space.
• To perform a temporary save of the active pattern, press [FUNC] + [YES]. This is useful in order to
create a restore point when you are live tweaking, but without permanently save your changes.
• To perform a temporary reload of the active pattern, press [FUNC] + [NO]. It will the reload the pat-
tern from when you last used the temporary save command. If you have not done any temporary save,
then the pattern will reload from the permanently saved state.

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10. THE SEQUENCER

The TEMPORARY SAVE PATTERN and TEMPORARY RELOAD PATTERN commands are
great when improvising live. Any changes made to the active pattern, like adding bass line
notes or using CONTROL ALL, can immediately be undone. And at the same time, the
saves and reloads will not affect the pattern in a permanent way.

The TEMPORARY SAVE PATTERN command will not save the pattern permanently and
any changes will be lost if you load another project. If you wish to save your changes per-
manently, you should use SAVE TO PROJ in the PATTERN MENU. For more information,
please see "14.3 PATTERN MENU" on page 75.

10.9 SONG MODE

A song is an arrangement of patterns set up to play in sequence. Each row in the SONG mode arrangement
can have separate settings for pattern, row repeat, row length, tempo, and mute. A song can be up to 99
rows in length, and each project can contain up to 16 songs.

10.9.1 THE SONG EDIT SCREEN

Press [SONG] and then press [TRIG 1–16] to select a song and enter SONG mode. Press [FUNC] +
[SONG] to open the SONG EDIT screen. Use the [ARROW] keys to navigate the song rows and col-
umns, highlighting the parameter you wish to edit, and then use LEVEL/DATA or any DATA ENTRY knob
to edit the selected function.
1 2 3 4 5 6 7 8

12

11

10

1. SONG ROW (Range 01–99)

2. LABEL lets you select a keyword for the row. The keyword is related to song structure, e.g., Verse,
Chorus, and Fill. It can also be the name of the pattern.
3. PTN lets you select the pattern to be played on the row. Press [FUNC] while turning the knob to
change banks quickly.
4. ROW PLAY COUNT The number of times the row plays before the song advances to the next row.
5. ROW LENGTH (measured in sequencer steps). This setting defines how many steps the sequenc-
er plays from the selected pattern. The default value is the same as the pattern length. (Range:
2–1024, the last 25 values are written as K00–K24)
6. ROW TEMPO Here, you set the row’s BPM per row. You can also choose to have one BPM for the
whole song. By default, the row inherits the BPM and swing set in the pattern selected for the row.
Press [TEMPO] to open the TEMPO menu for the currently selected row’s pattern. Here you can
also set the swing. You can also press [YES] while highlighting the BPM parameter to open the
TEMPO menu. Selecting song tempo on any row overrides all the previously set row and pattern
tempos. The swing settings are always set per row.
7. SONG POINTER Shows the current time and position of the playhead in the song arrangement.
8. ROW MUTE lets you mute the tracks of the pattern on the selected row. Highlight and press [YES]
to edit. A mute icon is displayed in the rows that have tracks that are muted. Use the [TRIG] keys
to mute and unmute the tracks. When selecting a pattern for the row, the row’s mute state initially
reflects the pattern’s mute state
9. END row. This row is always added at the end of a song and determines what will happen when the
song has played the last song row. By default, it is set to LOOP the song from the beginning and
play it again, but it can also be set to STOP the song.
10.The currently selected row is highlighted between dotted lines. Use [UP] and [DOWN] to select row.
11. PLAYHEAD position shows the row currently playing (or set to play if the sequencer is stopped).
12. SONG SLOT and SONG NAME.

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 10. THE SEQUENCER

10.9.2 CREATING AND EDITING A SONG

1. Press [SONG] and then press [TRIG 1–16] to select a song and enter SONG mode.
2. Press [FUNC] + [SONG] to open the SONG EDIT screen.
3. If you selected an empty song slot, you are presented with a screen where you can choose:
INSERT ROW Inserts the first row in the song. Press [FUNC] + [DOWN] to insert a row.
CREATE ROWS FROM CHAIN Creates a song based on a chain. Press [YES] and then select to
create rows from a previously created chain or to create a new chain by selecting patterns using
the [TRIG 1–16] keys. Use [LEFT]/[RIGHT] to change bank. Then press [YES] to create a song
based on the chain and open the SONG EDIT screen.
4. Press [FUNC] + [DOWN] if you want to add a new row to the song arrangement. The new row is
added below the currently selected row and is a copy of the selected row. Press [FUNC] + [UP] to
remove the selected row from the song arrangement.
5. Use the [ARROW] keys to navigate the song rows and columns, highlighting the item you wish to
edit. For more information about editing the functions in SONG mode, please see "10.9.1 THE SONG
EDIT SCREEN" on page 50.
6. To rename the song, navigate to SETTINGS > SONG > RENAME, and then edit the song name.
7. Press [NO] or [FUNC] + [SONG] to exit the SONG EDIT screen.

• [FUNC] + [RECORD] copies the selected row.

[FUNC] + [STOP] pastes a previously copied row to the selected row.
[FUNC] + [PLAY] resets the selected row to the pattern’s default BPM, length, and mute
state settings.
[FUNC] + [UP] deletes the selected row.
• Please note that there is always a row called END at the song’s end. This row can be set
to either STOP the song or LOOP it from the beginning and play it again.
• On the SONG EDIT screen, you can select a song row number and then press YES to
move the playhead to this row. You can also use the [TRIG 1–16] keys to preview and
play the track presets from the pattern on the playhead row.

10.9.3 PLAYING A SONG

1. Press [SONG] and then press [TRIG 1–16] to select a song and enter SONG mode. The song selected
will be the one that was last played or edited.
2. Press [PLAY] to play the selected song. At the top of the screen, you see the song number, the row
currently playing, the total number of rows in the song, the row’s LABEL, and finally the patterns bank/
number. This part of the screen is also used as a progress bar to show how far in the row the song
pointer has progressed.

3. Press [STOP] to stop the playback. You can then press [PLAY] to continue to play the song from the
current playhead position. Press [STOP] twice to move the playhead to the song’s beginning.
4. Select a pattern to exit SONG mode.

• Press [SONG MODE] + [LEFT] (when in SONG mode) to loop the currently playing row.
Press [SONG MODE] + [LEFT] again (when in SONG mode) to stop looping the row and
return to normal song playback.
• Press [SONG MODE] + [UP]/[DOWN] (when in SONG mode) to select a specific song row
to jump to and to play next.
• Press [PTN] and the [TRIG 1–16] keys to select a pattern to exit SONG mode and return to
regular pattern play.

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10. THE SEQUENCER

The songs are automatically saved as they are created and edited. However, you must save
the project if you wish to keep the songs before switching to another project.

10.10 PERFORM KIT MODE

In PERFORM KIT mode, any changes made to the preset parameters are not auto-saved, and kits are not
loaded when you change the pattern; instead, you keep the previous (tweaked) kit. It means you can keep
your parameter tweaks over several patterns and have a smooth evolving performance without having the
kits reloaded or inadvertently saving your kit when you change patterns.
Press [FUNC] + [PRESET/KIT] to toggle PERFORM KIT mode on/off. When PERFORM KIT mode is on, a
flashing “P” is shown next to the pattern name on the screen.

10.10.1 PERFORM KIT MODE ACTIONS

• Press [PRESET/KIT] + [NO] to reload the current patterns kit instantly.
• Press [PRESET/KIT] + [YES] to save the current patterns modified kit. This will open the SAVE
(KIT) menu. For more information please see "9.3.6 SAVE (KIT)" on page 34.

Pattern Temp save and Temp reload still works while in PERFORM KIT mode

Actions done in PERFORM KIT mode are not automatically saved and will not remain when
switch the device off. If you want to keep any changes done to the patten permanently, the
pattern must be saved

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 11. TRACK PARAMETERS

11. TRACK PARAMETERS

Here follows a description of all of the parameters that are available on the audio tracks PARAMETER
pages. The parameters on the TRIG page are not saved together with the preset, but are instead saved
with the pattern. The track parameters may be locked to other settings on any step of the pattern by first
pressing and holding a [TRIG] key, then changing the parameters’ settings with the DATA ENTRY knobs.
For more information, please see "10.8.1 PARAMETER LOCKS" on page 47.

Please note that MIDI tracks has a different set of parameters on the TRIG, SRC, FLTR, and
AMP page. For more information, please see "A.2.6 MIDI" on page 97.

11.1 EDITING THE TRACK PARAMETERS

There are six PARAMETER pages for the tracks. Press the [PARAMETER] keys to access the tracks PA-
RAMETER pages. Use the [UP]/[DOWN] keys to cycle through the parameter group's pages. You can also
press a [PARAMETER] key repeatedly to cycle trough the parameter pages in that group. Press and hold a
[PARAMETER] key to see the values for all parameters on that page.

• You can always reload a preset from its last saved state. Press [TRK] + [TRIG 1–16] + [NO]
to reload the preset.
• You can also randomize the parameter settings on a specific PARAMETER page on an
audio track. Press [PARAMETER] key + [YES] to randomize the relevant parameters on that
page. Every time you press this key combination, the parameters randomize in a new way.
• Press [PARAMETER] key + [NO] to reset the PARAMETER page to its last saved state.

11.2 TRIG PAGE 1

Here you set the options for notes that are trigged. Here you also select trig conditions. Press the [TRIG
PARAMETERS] key to access the menu. Change settings using the DATA ENTRY knobs. These general
settings affect note trigs placed on the sequencer. Trigs can be locked to other settings on any step of the
pattern by first pressing and holding a [TRIG] key, then changing the settings.
Press [TRIG PARAMETERS] to access this parameter page.

NOTE
Trig Note sets the pitch of the note when trigged. When in LIVE RECORDING mode and playing in KEY-
BOARD mode, the pitch of the [TRIG] keys played will override this setting. Press and turn DATA ENTRY
knob A to select only note values that exist in the scale set by KB SCALE. For more information, please
see "8.5.2 KEYBOARD SETUP MENU" on page 25.

VEL
Trig Velocity sets the velocity of the sequencer’s note trigs.

LEN
Trig Length sets the length of the note trig. In LIVE RECORDING mode, the duration of pressing the
[TRIG] keys overrides this general setting.

PROB
Trig Probability sets the probability that the trigs on the track plays or not. The probability outcome is
re-evaluated every time a trig is set to play. The default setting is 100%, meaning that all the trigs on the
track plays every time. This parameter can be parameter locked which lets you give separate trigs their
own probability.

LFO.T
LFO Trig controls if the LFO will be trigged or not.

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11. TRACK PARAMETERS

FLT.T
Filter Trig controls if the filter envelope will be trigged or not.

FILL
Fill is a separate trig condition that determines if a trig is active (plays) or not depending on if the device
is in FILL mode or not. For more information, please see "10.8.4 FILL MODE" on page 49, and "10.7.3
TRIG CONDITIONS AND CONDITIONAL LOCKS" on page 48.
ON A trig with FILL set to ON, plays when FILL mode is active.
OFF A trig with FILL set to OFF plays when FILL mode is not active.

The sequencer needs to be in FILL mode to activate the FILL trig condition. For more
information, please see "10.8.4 FILL MODE" on page 49.

COND
(Trig Condition) when you add a conditional lock. COND sets the Trig Condition with which a set of con-
ditional rules can be applied to any trig, using a conditional parameter lock. For more information, please
see "10.7.3 TRIG CONDITIONS AND CONDITIONAL LOCKS" on page 48.

11.3 TRIG PAGE 2

Here you set the behavior of retrigs that are added to note trigs placed in the sequencer. On this page you
also control the portamento. Change settings using the DATA ENTRY knobs. These general settings all
affect note trigs placed in the sequencer.
Retrigs can be customized on any of the sequencer steps on the audio tracks (the retrig function is not
available on the MIDI tracks). In GRID RECORDING mode, press [TRIG PARAMETERS] twice to access the
RETRIG PARAMETERS page. Hold one or several [TRIG] keys and then set the desired retrig options for
the trig(s). The RETRIG PARAMETERS page shows the retrig actions for the chosen sequencer step(s) on
the active track. The retrig settings are stored in the active pattern.

RTRG
Retrig turns the retrig lock ON/OFF. Use DATA ENTRY knob A to turn retrig on/off. For information on
setting retrigs locks on specific trigs in the sequencer, please see "10.5 RETRIGS" on page 45.

VFAD
Velocity Fade sets the velocity curve fade out/fade in of the retrig (-64–64). -64 corresponds to a
complete fade out during the set length, -32 fades out to half the velocity during the set length, 0 equals
a flat velocity curve with no fade, 32 fades into half velocity during the set length and 64 fades in com-
pletely to full velocity during the set length. Please note that the effects of the VFAD setting is also
dependent on the VEL setting on TRIG PAGE 1.

LEN
Length sets the duration of the retrig velocity curve in fractions of, or rational or integer multiples of, a
step (0,125–INF). 1/16 is the nominal length of one step. This setting affects the behavior of the velocity
curve by defining the boundaries of its envelope.

RATE
Rate sets the retrig rate (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 or
1/80). 1/16 is the nominal retrig rate, one trig per step. 1/32 corresponds to two trigs per step and so on.
To trig triplets, for example, set the retrig rate to 1/12 (or 1/24).

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 11. TRACK PARAMETERS

PTIM
Portamento Time sets the time for the portamento.

PORT
Portamento turns the portamento on/off. Please note that this parameter is only available on audio
tracks.
For more information, please see "9.8.2 TRACK" on page 37.

11.4 SRC PAGE

The parameters on the SOURCE pages control the playback of the samples, and these parameters vary de-
pending on what machine is selected. The SRC machines are sound engines that uses a particular subset
of the functionality of the sample playback engine. In this section you also find the MIDI machine that lets
you control external, MIDI equipped, gear. You can assign any SRC machine to any track. SRC page 2 con-
tains the same parameters as on page 1 but with a graphical representation of the parameters and a view of
the sample waveform. For more information, please see "A.2 SRC MACHINES" on page 91.
Use the DATA ENTRY knobs to change the settings.
Press [SRC] to access this parameter page.

11.5 FLTR PAGE 1

The parameters on the FLTR page 1 control the filter/EQ, and these parameters vary depending on what
machine is selected The FLTR machines are a collection of different filters and EQ. For more information,
please see "A.3 FLTR MACHINES" on page 100.
Use the DATA ENTRY knobs to change the settings.
Press [FLTR] to access this parameter page.

11.6 FLTR PAGE 2

On FILTER page 2, you will find the parameters that control the base-width filter and the envelope delay
parameter.

The base-width filter is basically a Highpass filter and a Lowpass filter connected in series. The filters BASE
and WIDTH parameters define the base-width filters frequency range.
Examples of how the BASE and WIDTH parameters affect the filter frequency range:
AMPLITUDE

AMPLITUDE

AMPLITUDE

Width Width Width

Base Base Base

FREQUENCY FREQUENCY FREQUENCY

• With BASE set to 0, the filter functions as a low pass filter with WIDTH adjusting the fre-
quency range.
• With WIDTH set to 127, the filter functions as a high pass filter with BASE adjusting the
frequency range.
• With BASE set to 0 and WIDTH set to 127 the filter does not affect the sound.

55
11. TRACK PARAMETERS

DEL
Envelope delay sets the time before the attack phase of the filter envelope starts. This parameter is part
of the filter envelope that controls the multimode filter. You can also press and hold [FUNC] and then
turn DATA ENTRY knob A to quickly access this parameter from FILTER page 1.

KEY.T
Keytrack sets how much the filter cutoff frequency is affected by what note is playing. The higher the
KEY.T setting, the more the filter opens up at higher notes.

BASE
Sets the base frequency of the filter.

WIDTH
Sets the frequency width above the base frequency.

RSET
Filter Envelope reset sets the filter envelope behavior:
ON resets the envelope for each consecutive trig (default).
OFF does not reset the envelopes for each consecutive trig.

11.7 AMP PAGE

The AMP page controls parameters for the amplitude envelope, panning, and
volume.
Press [AMP] to access this parameter page.

ATK
Attack Time sets the length of the attack phase of the amp envelope.

HOLD
Hold Time sets the length of the hold phase of the amp envelope. Fixed Hold time values (0–126) specify
the length of the hold phase, and the envelope ignores Note Off events such as Trig Length, releasing a
[TRIG] key or a key on an external controller. Setting HOLD to NOTE means the hold phase will be deter-
mined by Note On and Note Off events. This parameter is only available if MODE on is set to AHD.

If you set HOLD to NOTE and use an external keyboard to trigger the envelope, then the
sound will be sustained (if DEC is set to less than 127) for as long as you press a key on the
keyboard.

DEC
Decay Time sets the length of the decay phase of the amp envelope.

SUS
Sustain Level sets the sustain level of the amp envelope. This parameter is only available if MODE on is
set to ADSR.

REL
Release Time sets the length of the release phase of the amp envelope. This parameter is only available
if MODE is set to ADSR.

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 11. TRACK PARAMETERS

RSET
Amp envelope reset sets the amp envelope behavior:
ON resets the envelope for each consecutive trig (default).
OFF does not reset the envelope for each consecutive trig.

MODE
Envelope mode sets the amplitude envelope to function an AHD or an ADSR envelope.

PAN
Pan positions the audio in the stereo field.

VOL
Volume sets the volume amount of the amplifier. Unlike the track LEVEL, this parameter can be parame-
ter locked.

Amplitude envelope with MODE set to AHD and a fixed HOLD time.

Attack Hold Decay

AMPLITUDE

Attack Hold Decay Attack Hold Decay

Note On Note Off Note On Note Off Note On Note Off

TIME

Amplitude envelope with MODE set to AHD and HOLD set to NOTE.

Attack Decay
Hold
Attack
AMPLITUDE

Hold Decay Attack/ Decay

Hold

Note On Note Off Note Note Off Note On Note Off

On
TIME

11.8 FX PAGE
The FX parameter page contains a number of FX related parameters such as the Bit Reduction, Overdrive,
and Sample Rate Reduction. Here you also find the send levels for the Delay, Reverb, and Chorus effects.
Press [FX] to access this parameter page.

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11. TRACK PARAMETERS

BR
Bit Reduction sets the bit rate. The parameter range is from 16 bits to 1 bit.

OVER
(Overdrive) sets the gain amount into the digital overdrive.

SRR
Sample Rate Reduction sets the amount of sample rate reduction.

ROUT
SRR Routing sets if the Sample Rate Reduction effect is applied pre (before) or post (after) the filter
section.

DEL
Delay Send sets the amount of sound sent through to the Delay effect. For more information, please see
"12. FX AND MIXER PARAMETERS" on page 61.

REV
Reverb Send sets the amount of sound sent through to the Reverb effect. For more information, please
see "12. FX AND MIXER PARAMETERS" on page 61.

CHR
Chorus Send sets the amount of sound sent through to the Chorus effect. For more information, please
see "12. FX AND MIXER PARAMETERS" on page 61.

Please note that there are no parameters on the FX page for MIDI tracks.

11.9 MOD PAGE 1

The MOD pages contains three LFOs (two for tracks that use MIDI machines). The Low-Frequency Oscilla-
tor can be used to modulate the parameters found on the tracks SRC, FILTER and AMP pages. Customize
the low-frequency oscillator behavior, orientation, and depth on this page. This page controls the behavior
of LFO 1
Press [MOD] to access this parameter page.

SPD
Speed sets the speed of the LFO. Try settings of 8, 16 or 32 to sync the LFO to straight beats. The knob
is bipolar. The LFO cycle can be played backward by using negative values.

MULT
Multiplier multiplies the SPD parameter by the set factor either by multiplying the current tempo (BPM
settings), or by multiplying a fixed tempo of 120 BPM.

FADE
Fade In/Out makes it possible to fade in/fade out the LFO modulation. The knob is bipolar. Positive val-
ues give a fade-out, negative values give a fade in. 0 gives no fade in/fade out. (-64–63)

DEST
Destination selects the modulation destination for the LFO. Preview how the LFO modulation will affect
the sound by highlighting a destination. Press [YES] to confirm the selection. For more information,
please see "APPENDIX C: LFO MODULATION DESTINATIONS" on page 109

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 11. TRACK PARAMETERS

WAVE
Waveform sets the LFO waveform. The Triangle, Sine, Square, Sawtooth, and Random waveforms are
bipolar. The Exponential and Ramp are unipolar.

SPH
Start Phase sets the point within the wave cycle where the LFO will start when it is trigged. 0 makes the
LFO start at the beginning of a complete wave cycle, 64 makes it start at the center. A small square at
the start of the waveform shows that the wave cycle starts at a zero-crossing. If WAV is set to RND then
the SPH parameter changes to SLEW and adds slew to the transitions in the waveform.

MODE
Trig Mode sets how the LFO will act when a note is trigged.
• FRE is the default free-running mode. It makes the LFO run continuously, never restarting or
stopping even if notes are trigged..
• TRG makes the LFO restart when a note is trigged.
• HLD makes the LFO run free in the background, but when a note is trigged the LFO output level is
latched and held still until the next note is trigged.
• ONE The LFO starts when a note is trigged, then runs to the end of the waveform and then stops.
This makes the LFO function similar to an envelope.
• HLF The LFO starts when a note is trigged, then runs to the middle of the waveform and then stops.

DEP
Depth sets the depth and polarity of the LFO modulation. Both negative (inverted) and positive modula-
tion depth is possible. A center setting, 0.00, equals no modulation depth.

11.10 MOD PAGE 2

MOD page 2 page contains the same parameters as LFO page 1, but controls the behavior of LFO 2.

11.11 MOD PAGE 3

MOD page 3 page contains the same parameters as LFO page 1, but controls the behavior of LFO 3.

Please note that MIDI tracks only have two LFOs.

LFO waveforms and trig modes.

TRIG FREE TRIG HOLD ONE HALF

TRIG TRIG TRIG TRIG TRIG TRIG TRIG TRIG

TRI

SIN

SQR
WAVEFORM

SAW

EXP

RMP

RND

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11. TRACK PARAMETERS

The table below shows the LFO speed measured in whole note values. One whole note equals 16 se-
quencer steps in 4/4 with SCALE set to 1x. I.e., a combination of SPD and MULT (set to a BPM value)
settings that generate a value of 1 in the table gives that the LFO will do one full cycle in the time it takes
the sequencer to advance 16 steps.

MULT
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
S 4 32 16 8 4 2 1 1/2 1/4 1/8 1/16 1/32 1/64
P
D 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

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 12. FX AND MIXER PARAMETERS

12. FX AND MIXER PARAMETERS

The Digitakt II effects and mixers parameters are explained in this chapter.

12.1 EDITING THE SEND FX AND MIXER PARAMETERS

The Digitakt II’s Chorus, Delay and Reverb are send effects and are set on a pattern level. It means that all
the presets in a pattern shares the same effect settings but have individual send levels to the effects. The
Delay, Reverb, and Chorus parameters are set on their respective PARAMETER page, but their incoming
signals are set by the DEL, REV, and CHO send parameters on the FX page of each audio track.
Press [FUNC] + [FX] to access the SEND FX parameter pages, and then use the [UP]/[DOWN] keys to
navigate between the sub pages. Use the DATA ENTRY knobs A-H to change the parameters.
Press [FUNC] + [MOD] to access the MIXER parameter pages, and then use the [UP]/[DOWN] keys to
navigate between the sub pages. Use the DATA ENTRY knobs A-H to change the parameters.

The FX and MIXER parameter settings are stored as part of the pattern. Don’t forget to save
the pattern and give it a unique name once you have achieved the results you want.

12.2 DELAY
(SEND FX PAGE 1)
The Delay send effect takes the input signal, delays it in time and then rejoins it with the original signal.

TIME
Delay Time sets the delay time. It is relative to the current BPM and is measured in 128th notes.

TIME setting Divide ratio

1 1/128
2 1/64
2.67 1/48 (1/32T)
3 1/64.
4 1/32
5.33 1/24 (1/16T)
6 1/32.
8 1/16
10.67 1/12 (1/8T)
12 1/16.
16 1/8
21.33 1/6 (1/4T)
24 1/8.
32 1/4
42.67 1/3 (1/2T)
48 1/4.
64 1/2
96 1/2.
128 1

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12. FX AND MIXER PARAMETERS

X
Ping-pong sets the delay signal to alternate across the stereo field. There are two settings:
• OFF lets you manually set the position of the delay signal in the stereo field. Use the WID parameter
to change the stereo field position.
• ON makes the delay signal alternate between left and right pan positions. The WID parameter
controls the amount of panning.

WID
Stereo Width sets the delay signal pan width across the stereo field. The knob is bipolar.

FDBK
Feedback Gain sets the amount of delay output signal to feed back into the input of the delay. With high-
er parameter settings, infinite and/or swelling delays are possible. Please be aware that high feedback
can lead to a very loud signal.

VOL
Delay Volume sets the volume of the Delay output signal. Use LEVEL/DATA to set this parameter.

HPF
HPF sets the cutoff frequency of the delay highpass filter.

LPF
LPF sets the cutoff frequency of the delay lowpass filter.

REV
Reverb Send sets the amount of Delay output signal to be sent to the Reverb.

12.3 REVERB
(SEND FX PAGE 2)
The Reverb send effect controls the persistence, and ambient characteristics, of the sound reverberations.
It can simulate many different sonic locations, from huge spaces to small rooms.

PRE
Pre-delay sets the pre-delay time of the Reverb.

DEC
Decay Time sets the length of the decay phase of the reverberated signal, essentially setting the size of
the acoustic space.

FREQ
FB Shelving Freq sets the shelving filter frequency. Together with the GAIN parameter, it can be used to
dampen the reverberated signal above a chosen frequency, making the reverberation sound more promi-
nent or more muffled.

GAIN
FB Shelving Gain affects the damping of the reverberated signal above the shelving frequency set by the
FREQ parameter. At max value the treble is included in the reverberations; lowering the value gradually
dampens it.

VOL
Reverb Volume sets the volume of the Reverb output signal. Use LEVEL/DATA to set this parameter.

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 12. FX AND MIXER PARAMETERS

HPF
HPF sets the cutoff frequency of the reverb high-pass filter that affects the audio going in to the reverb.

LPF
LPF sets the cutoff frequency of the reverb low-pass filter that affects the audio going in to the reverb.

12.4 CHORUS
(SEND FX PAGE 3)
The chorus can be used to widen sounds, enhance the stereo image or add subtle movement to sounds.

DPTH
Depth sets the depth of the LFO modulation of the chorus.

SPD
Speed sets the speed of the LFO modulation of the chorus.

HPF
High-pass filter sets the highpass filtering of the input signal.

WDTH
Width sets the stereo width of the chorus.

VOL
Chorus Volume sets the volume of the Chorus output signal. Use LEVEL/DATA to set this parameter.

DEL
Delay Send sets how much of the wet chorus signal to send through to the delay.

REV
Reverb Send sets how much of the wet chorus signal to send through to the reverb.

12.5 COMPRESSOR
(MIXER PAGE 1)
The Compressor master effect compresses the dynamic range of the signal by reducing the volume of loud
sounds relative to the quiet sounds. There are eight parameters with which the compressor is customized
on this page. There is a bar on the left side of the screen that visually represents the amount of compres-
sion.

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12. FX AND MIXER PARAMETERS

THR
Threshold sets the threshold of the compressor. A lower threshold means a larger portion of the signal
are subject to compression.

ATK
Attack sets the time of the compressor attack phase, i.e. how quickly the compressor responds to loud
peaks.

REL
Release sets the time of the compressor release phase, i.e. how long it takes for the compression to
recover in quieter moments.

MUP
Makeup Gain sets the makeup gain of the compressor output, to compensate for the reduced signal
levels caused by compression. The Makeup Gain parameter value is displayed in dB.

VOL
Pattern Volume sets the kits overall audio level. This parameter basically has the same function as the
MAIN VOLUME knob, but is saved together with the kit. Use LEVEL/DATA to adjust the settings.

RAT
Compression Ratio. There are eight different compression ratios, 1.50, 2.00, 3.00, 4.00, 6.00, 8.00, 16.00
and 20.00. Higher ratios result in greater compression of the signal.

SCS
Sidechain Source decides what audio source the compressor analyzes when it performs sidechaining.
Sidechaining is the process when the compressor uses the output of an audio source to control the
overall action of the compressor. For example, if you set SCS to TRK1 where you have a kick drum, every
time the kick drum plays, the compressor lowers the overall sound of the mix.
COMP MIX sets the sidechain source to be all the tracks that are routed to the compressor.
NOT COMP sets the sidechain source to be all the tracks that are not routed to the compressor.
MAIN sets the sidechain source to be the sound sent to the Main (L/R) outputs.
TRK1–16 sets the sidechain source to be the sound sent from one of the separate audio tracks.
IN LR sets the sidechain source to be the sound coming from IN L/R.
IN L sets the sidechain source to be the sound coming from INPUT L.
IN R sets the sidechain source to be the sound coming from INPUT R.

• The results of the COMP MIX and NOT COMP settings depends on the selections
you make on the COMPRESSOR ROUTING page. For more information please see
"9.8.1 KIT" on page 37.
• The IN L and IN R options are only available if you set DUAL on the External mixer
page to ON. The IN LR option is only available if you set DUAL to OFF. For more infor-
mation, please see "12.9 EXTERNAL MIXER" on page 66.

SCF
Sidechain Filter filters the signal from the sidechain source before the compressor analyzes it. The
parameter ranges from a low-pass filter to a high-pass filter. Negative parameter values sets a low-pass
filer. Positive parameter values sets a high-pass filter.
When set as a low-pass filter, the compressor reacts mostly to bass frequencies. Use this setting for a
characteristic pumping compressor sound. When set as a high-pass filter, the compressor reacts less to
bass frequencies. Use this setting to avoid pumping.

DRY/WET MIX
Dry/Wet Mix sets the mix of the uncompressed signal and the compressor output signal. A setting of
0 results in a completely uncompressed signal. A setting of 127 lets only the compressed signal pass
through. All values in between mix the uncompressed signal with the compressed signal, which is known
as parallel compression.

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 12. FX AND MIXER PARAMETERS

The Digitakt II compressor

Sidechain Filter Gain Dynamics

Source (HP/LP) Computer (Atk/Rel)

SRC Control
Signal

Input Gain Make up Dry/Wet Output

(LR) Reduction Gain Mix

12.6 INTERNAL MIXER PAGE 1

(MIXER PAGE 2
The INTERNAL MIXER page 1 is where you can access the TRACK LEVEL parameter of track 1–8 (if they
are audio tracks).

VOL
Pattern Volume sets the patterns overall audio level. This parameter can be used to balance the volume
between different patterns and is saved together with the kit. Use LEVEL/DATA to adjust the settings.

12.7 INTERNAL MIXER PAGE 2

(MIXER PAGE 3)
The INTERNAL MIXER page 2 is where you can access the TRACK LEVEL parameter of track 9–16 (if they
are non-MIDI tracks).

VOL
Pattern Volume sets the patterns overall audio level. This parameter can be used to balance the volume
between different patterns and is saved together with the kit. Use LEVEL/DATA to adjust the settings..

12.8 FX MIXER
(MIXER PAGE 4)
On the FX MIXER page you can set the levels of the send effects and master overdrive.
Press [FUNC] + [MOD] four times to access this parameter page.

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12. FX AND MIXER PARAMETERS

VOL
Pattern Volume sets the patterns overall audio level. This parameter can be used to balance the volume
between different patterns and is saved together with the kit. Use LEVEL/DATA to adjust the settings.

CHR
Chorus Mix Volume sets the master volume of the chorus.

DEL
Delay Mix Volume Sets the master volume of the delay.

REV
Reverb Mix Volume sets the master volume of the reverb.

MOVD
Master Overdrive sets overall amount of overdrive for the audio tracks in the kit. Use LEVEL/DATA to
adjust the settings.

12.9 EXTERNAL MIXER

(MIXER PAGE 5)
The EXTERNAL MIXER page contains a number of parameters related to when you use the IN L/R inputs
to process incoming audio.

IN LR
In Level sets the level of the audio from the IN L/R audio input.

DUAL
Dual Mono sets if the inputs are processed as a single stereo input or as two separate mono inputs. Set-
ting this parameter to ON changes the rest of the parameters from controlling both inputs to separate
controls for channel L and R split over two mixer pages The BAL parameters changes to a PAN parame-
ter. Use B to adjust this parameter.

BAL
Balance sets the balance of the audio from the INPUT L and INPUT R inputs in the stereo field.

VOL
Pattern Volume sets the patterns overall audio level. This parameter can be used to balance the volume
between different patterns and is saved together with the kit. Use LEVEL/DATA to adjust the settings.

CHO
Chorus send sets the amount of sound from the IN L/R audio input that is sent through to the chorus
effect. For more information, please see "12.4 CHORUS" on page 63.

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 12. FX AND MIXER PARAMETERS

DEL
Delay send sets the amount of sound from the IN L/R audio input that is sent through to the delay effect.
For more information, please see "13.3 DELAY" on page 60

REV
Rev send sets the amount of sound from the IN L/R audio input that is sent through to the reverb effect.
For more information, please see "13.4 REVERB" on page 62.

If you set DUAL to ON, the first EXTERNAL MIXER page will control the audio from INPUT
L. You also get an additional EXTERNAL MIXER page (6) that control the audio from
INPUT R. The DUAL setting also affects the options you have for the SRC parameter in the
sample recorder. For more information, please see "13.1.1 SRC" on page 68.

• Setting the MON parameter on the SAMPLING menu to DRY disables the External in
mixer functionality. For more information, please see "13.1 SAMPLING MENU" on page
68.
• After you load/reload a project, or after pressing [STOP] + [STOP], you must trig or play
an audio track to activate the effects for the External in mixer.

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13. SAMPLING

13. SAMPLING
Digitakt II is a very competent and accessible sampler. It can sample audio from external sources via the
external inputs, and sample audio internally from the Digitakt II itself. It can also sample over USB when it is
connected as a soundcard. The maximum sampling time is 66 seconds and this is always available even if a
project’s 400 MB of RAM memory is all used up.

13.1 SAMPLING MENU

The SAMPLING menu offers settings that control the different aspects of sampling.
Press [SAMPLING] to access this menu. Use the DATA ENTRY knobs to change the parameters.

13.1.1 SRC
Source selects between different incoming audio sources to sample from.
• MAIN L R sets the input source to the Digitakt II internal main audio L and R channels.
• USB L R sets the input source to USB (left+right channel) and lets you sample audio using a con-
nected class compliant audio host.
• TRK1–16 sets the input source to one of the Digitakt II’s internal tracks.
• IN L R sets the input source to INPUT L and R which lets you sample from external sources.

Which sources that are available are affected by the setting of the DUAL parameter on
the EXTERNAL MIXER page. For more information, please see "12.9 EXTERNAL MIX-
ER" on page 66.

13.1.2 RECORD NOW

Press [YES] to start sampling. Press [YES] to stop sampling. This quick way of sampling does not con-
sider the THRES and ARM parameter settings.

13.1.3 THRES
If you have selected to arm the sampler, the sampling begins when the incoming audio signal exceeds
the threshold set by this parameter provided that R.STRT is set to THRES. Set the threshold high enough
so that it is not triggered by background noise, but low enough that you capture all of the signal.

13.1.4 MON
Selects the option to monitor the incoming audio through the Digitakt II's mixer and effect settings on the
EXTERNAL MIXER page (POST MIX) or not (PRE MIX). The MON parameter is only available if SRC is
set to IN L R.

• Please note that the recorded audio will always be the dry input signal and without the
Digitakt II's effects added.
• Setting the MON parameter to PRE MIX disables the External In mixer functionality. For
more information, please see "12.9 EXTERNAL MIXER" on page 66.
• If MON is set to PRE MIX, make sure that the IN L R setting on the EXTERNAL MIXER
page is turned up or else you will not hear any sound.

13.1.5 R.LEN
Record Length sets the length of the sampling. With a setting of 1–128 steps, the sampling length is
decided by the time that it takes the sequencer to advance the set number of steps at the current BPM.
With the MAX setting, the sampling continues until max sampling time (66 seconds) is reached or until
you press [YES] to stop sampling.

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 13. SAMPLING

13.1.6 R.STRT
Record Start lets you set if the recorder will start sampling when you press [PLAY] or when the level of
the audio source exceeds the threshold level set by THRES and with ARM set to ON

13.1.7 ARM
When ARM is set to on, the recorder will start sampling when the incoming audio exceeds the threshold
level. See THRES above. You can also press [SAMPLING] + [YES] to arm the recorder. Press [SAM-
PLING] + [NO] to cancel.

13.2 SAMPLING AUDIO

1. If you use an external audio source, connect it to the Digitakt II.
2. Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob A to set SRC to
your preferred audio input source.
3. Keep an eye on the audio input meter and play the audio source and make sure that the volume of the
audio source is as strong as possible, but without clipping or distorting. Set MON to YES to monitor
the incoming audio through the Digitakt II (available if you sample from an external source).
4. Again, with an eye on the audio input meter, use DATA ENTRY knob D to set THRES just above the
indicated background noise of the audio source (when it is not playing).
5. Use RLEN to set the length of the sampling.
6. Set R.START to THRES.
7. Set ARM to ON to arm the sampler and then play the sound source. When the audio signal exceeds
the set threshold level, sampling will start.
8. Press [YES] when you want to stop sampling, or with an RLEN setting of 1–128, the sampling stops
automatically. The sampling also stops if it reaches the max sampling time (66 seconds). The Digitakt
II then automatically normalizes the sample.
9. Use the DATA ENTRY knobs E and H to set the parameters TRIM START and TRIM END to trim the
sample to the desired length. You can use the DATA ENTRY knobs F to zoom in and out to make it
easier to see where to trim the sample. Use [FUNC] + F to zoom vertically. Use knob G to position the
zoom focus area. [FUNC] + G moves the trim selection left or right. When zoomed, pressing [LEFT]
will jump to the START trim point, and [RIGHT] will jump to the END trim point. Press [FUNC] + [YES]
to preview the sample. DATA ENTRY knobs D selects the way the sample will be previewed. One shot,
Looping, One shot (without having to hold the shortcut all the way), Looping (without having to hold
the shortcut all the way). The preview is played back by the voice of the active track. Make sure to
select an audio track as the active track. Press [YES] to trim the sample and save it. Press [FUNC] +
[NO] if you want to discard the sample.

10.Name the sample and press [YES] again to confirm the save.
11. Press [TRACK 1–16] if you want to select a track to where you want to assign the sample. Press [NO]
if you don’t want to assign the sample to a track.

13.3 ASSIGNING A SAMPLE TO A TRACK FROM THE +DRIVE

You can also assign samples from the +Drive storage in the Digitakt II to the tracks.
1. Press [FUNC] + [SAMPLING] to access the SAMPLES menu, and then select +DRIVE and press
[YES].
2. Navigate to the sample you want to assign, and then press [YES] to select the sample.
3. Press [RIGHT], to open the SAMPLE ACTION menu and then select LOAD TO PROJECT and press
[YES] to copy and load the sample to the project.
4. Press [YES] to confirm.
5. Press [FUNC] + [SAMPLING] to exit the SAMPLES menu
6. Press [TRACK] + [TRIG 1–16] to select the track to where you want to assign the sample.

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13. SAMPLING

7. Press [SRC] to access the SOURCE menu, and then use DATA ENTRY knob D to select the sample
you want to load to the selected track.
8. Press [YES] to load the sample to the track.
For more information, please see "13.6 SAMPLES MENU" on page 70.

13.4 SAMPLE PLAYBACK

Once the sample is assigned to a track, it can be triggered either by the sequencer or manually by pressing
a [TRIG] key. You also have the ability to set the samples play mode and edit what portion of the sample is
played.
1. Press [SRC] to access the SOURCE page.
2. Set the TUNE of the sample.
3. Set the PLAY MODE behavior of the sample.
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
How long it will loop for is set with the LEN parameter on the TRIG page. The loop time is also con-
strained by the AMP page envelope parameter settings HLD and DEC.
• FORWARD LOOP The sample will start from the start position and then loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
The loop time is also constrained by the AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is trigged.

4. Use DATA ENTRY knobs E, F, and G to set the STRT, LEN, and LOOP parameters which define what
portion of the sample is played. Press [SRC] twice to access SRC page 2, in order to more easily see
these settings using the sample waveform.

• STRT Start sets the start position for the playback of the sample.
• LEN Length sets the length of the playback of the sample. Start + Length effectively defines the end
point of the portion of the sample that is played.
• LOOP Loop Position sets the position in the sample to where playback will return after reaching the
Length Position (defined by STRT + LEN) if PLAY MODE is set to FORWARD LOOP or REVERSE
LOOP. The sample then loops between the end of LEN, and LOOP.
For more information, please see "11.4 SRC PAGE" on page 55.

13.6 SAMPLES MENU

Press [FUNC] + [SAMPLING] to open the SAMPLES menu.
Use the [UP]/[DOWN] keys to select if you want to view the +Drive or the RAM storage. Press [YES] to
open the selected storage space.
Here you can manage your samples. Initially, here are two directories FACTORY and INCOMING. A wide
array of factory samples are available in the write protected FACTORY directory. The INCOMING directory
is the default destination for samples sent to the Digitakt II +Drive storage via a SDS transfer software. A
third directory, RECORDED will appear once you have done the first sampling on the device and will contain
the samples you create when you sample with the Digitakt II.

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 13. SAMPLING

Use the [UP]/[DOWN] keys to highlight a directory, and then press [YES] to open it. To exit a directory and
back one step up in the directory hierarchy, press [NO]. Pressing and holding [NO] takes you to the top
level of the SAMPLES menu. When browsing a directory in the +Drive, a sample assigned to one of the 1016
sample slots of the active project will have its slot number shown as seen below.

13.6.1 LOADING A SAMPLE

You can load one or several samples to the RAM memory of the active project.
1. Press [FUNC] + [SAMPLING] to open the SAMPLES menu, and then use the [UP]/[DOWN] keys
to select +DRIVE. Press [YES] to open the +Drive storage.
2. Open the FACTORY directory, and navigate to the samples you want to load.
3. Highlight the samples, and then press [YES] to select them. Press [YES] on a selected sample to
deselect it. Any sample can be previewed, played back by the voice of the active track (make sure
to select an audio track). Highlight the sample and then press [FUNC] + [YES]. Approximately, ten
seconds of the sample can be previewed.
4. Press [RIGHT] to open the SAMPLE ACTION menu.

5. Select LOAD TO PROJECT and press [YES].

The samples you selected (ticked) will now appear in the first available empty slots out of the 1016
sample slots of the active project. To view the samples currently in the RAM storage of the active project,
press [FUNC] + [SAMPLING] to open the SAMPLES menu, and then use [UP]/[DOWN] to select the
PROJECT RAM. Press [YES] to open the RAM storage.
If you instead what to load the samples to a specific RAM bank, press [FUNC] + [YES] and then use
[LEFT]/[RIGHT] or LEVEL/DATA or [TRIG 9–16] to select RAM bank.

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On this screen, the 1016 samples may be unloaded individually or collectively to empty the slots.

13.6.2 UNLOADING A SAMPLE

You can unload one or several samples from the RAM memory of the active project.
1. Press [FUNC] + [SAMPLING] to open the SAMPLES menu, and then use the [UP]/[DOWN] keys
to select the PROJECT RAM. Press [YES] to open the projects RAM storage.
1. Scroll the list using [UP]/[DOWN] or the LEVEL/DATA knob.
2. Highlight the samples, and then press [YES] to select the samples, or bring up the SAMPLE AC-
TION menu by pressing [RIGHT] and choose SELECT ALL.
3. Press [YES] and then select UNLOAD, and then press [YES] again to empty the slots of the select-
ed samples.

13.6.3 REPLACING A SAMPLE

You can replace a sample in the RAM memory of the active project.
1. Highlight the slot containing the sample you wish to replace, and then (without selecting any sam-
ples) press [RIGHT] to open the SAMPLE ACTION menu, and select REPLACE, and then press
[YES] again.
2. Browse the directories of the +Drive, locate the desired sample and press [YES] to place it in the
previously highlighted sample slot.

If you wish to go back to browsing the +Drive storage directories, press [NO] to go back to the SAM-
PLES menu, and then use the [UP]/[DOWN] keys to select +DRIVE. Press [YES] to open the +Drive
storage.

13.6.4 RENAMING A SAMPLE

You can also rename a sample.
1. Navigate to the directory that contains samples you want to rename.
2. Highlight the sample you want to rename, and then press [YES] to select it.
3. Press [RIGHT] to open sample action menu, and then Select RENAME and press [YES].
4. Use the NAMING screen to rename the sample and then press [YES].

13.6.5 MOVING A SAMPLE

You can move one or several samples from one directory to another.
1. Navigate to the directory that contains samples you want to move.
2. Highlight the samples you want to move, and then press [YES] to select them.
3. Press [RIGHT] to open the SAMPLE ACTION menu.

4. Select MOVE SELECTED and press [YES].

5. Navigate to the directory to where you want to move the samples.

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6. Press [RIGHT] to open the SAMPLE ACTION menu and then highlight MOVE HERE.
7. Press [YES] to move the samples.

13.6.6 REMOVING UNUSED SAMPLES FROM RAM

You can use this feature to remove all samples that are not used in any pattern in the project from the
RAM memory. The samples are not removed from the +Drive.
1. Press [FUNC] + [SAMPLING] to open the SAMPLES menu, and then use the [UP]/[DOWN] keys
to select PROJECT RAM. Press [YES] to open the RAM memory.
2. Press [RIGHT] and the SAMPLE ACTION menu will appear. Select SELECT UNUSED, and then
press [YES].
3. Select UNLOAD. A warning popup will appear asking “UNLOAD X SAMPLES? CONFIRM? Y/N”.
Press [YES] to remove all unused samples.

13.6.7 TRANSFERRING SAMPLES FROM A COMPUTER TO DIGITAKT II

1. Connect Digitakt II to the computer via USB.
2. Open the Elektron Transfer software (Available on the Elektron website) on your computer.
3. On the Transfer CONNECTIONS page, set the MIDI IN and OUT ports to your Digitakt II.
4. In Transfer, click the EXPLORE tab to open the EXPLORE page.
5. On the top right side, in the drop-down menu, select “Samples”.
6. On the top left side in the drop-down menu, make sure “My Computer” is selected.
7. Under “My Computer” navigate to the files or folders you want to transfer.
8. Drag and drop the files or folders to your preferred location on your device. Transfer automatically
converts all audio files to 16 bit, 48 kHz, stereo audio files, the Digitakt II native audio format.
To use the samples, they need to be loaded to the active project. For more information, please see "13.6.1
LOADING A SAMPLE" on page 71.

13.6.8 CREATING A NEW DESTINATION DIRECTORY

The Digitakt II still supports receiving of samples via MIDI Sample Dump Standard (SDS) and Extended
SDS. You need to enable SDS Handshake in order to secure the transmission over fast interfaces like
USB MIDI. You also have to enable the transmission of the Extended SDS header if you want the sample
name to be sent to the Digitakt II.
This procedure is only for when you use a SDS transfer software tool. If you use Elektron Transfer you
can create a new destination directory in the Digitakt II directly from Transfer.
Press [FUNC] + [SAMPLING] to open the SAMPLES menu, and then use the [UP]/[DOWN] keys to
select the +Drive. Press [YES] to open the +Drive storage. Press [RIGHT] and select CREATE DIR to
create a new directory by pressing [YES]. A naming screen will appear. Give your new destination direc-
tory an appropriate name. Press [YES] to open the new directory. In the initially empty directory, press
[RIGHT] to open the SAMPLE ACTION menu. Highlight UPLOAD HERE and press [YES].

13.6.9 TRANSFERRING SAMPLES FROM DIGITAKT II TO A COMPUTER

1. Connect Digitakt II to the computer via USB.
2. Open the Elektron Transfer software (Available on the Elektron website) on your computer.
3. On the Transfer CONNECTIONS page, set the MIDI IN and MIDI OUT ports to your Digitakt II.
4. In Transfer, click EXPLORE to open the EXPLORE page.
5. On the EXPLORE page on the right side under DIGITAKT II, navigate to the samples you want to
transfer
6. Drag and drop the samples to your preferred folder under MY COMPUTER.

• Make sure you have the latest version of the Elektron Transfer software installed on your
computer. You can download the free Transfer software and the Transfer User Manual
from the Support section of the Elektron website.
• If MIDI+USB is selected in the INPUT FROM and/or OUTPUT TO settings on the MIDI
PORT CONFIG menu, MIDI data transfers will limit the USB speed. When sending or
receiving large chunks of data, make sure you use the USB setting.
• Sequencer playback stops when you transfer files to the Digitakt II.

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14. SETTINGS MENU

The SETTINGS menu offers settings that affect Digitakt II and can also be used to manage Projects.
Press [SETTINGS] to access the SETTINGS menu. Scroll the list by using [UP]/[DOWN] or the LEVEL/
DATA knob. Open a highlighted menu by pressing [YES].

14.1 PROJECT

14.1.1 LOAD PROJECT

Load Project opens a project selection screen where you can choose a project to load. If you wish to
create a new project, select CREATE NEW at the very bottom of the list. The new project will be a blank
slate.

If you load a new project it will replace the active project. Be sure to save your active
project before you load another project.

14.1.2 SAVE PROJECT AS

Save Project opens a project selection screen where you choose a slot to save the active project to.
You can also press [FUNC] + [SETTINGS] to save and overwrite the current project.

14.1.3 MANAGE PROJECTS

Manage Projects launches the PROJECT MANAGER menu. Selecting a project in this menu and pressing
the [RIGHT] arrow key will bring up a list of commands.
• CLEAR Resets the project slot to a clean state.
• DELETE Removes the project from the slot.
• RENAME Opens a NAMING screen where you can rename the project file.
• LOAD FROM Loads the selected project. This will replace the active project!
• SAVE TO Saves the active project to the selected slot.
• TOGGLE Toggles write protection on or off. Write protected projects cannot be overwritten, re-
named or erased. A lock symbols in front of the project name shows that the project is write protected.
• INIT NEW Initializes an empty file slot with a clean project. This option is only available for empty
project slots.
• PURGE ALL Purges (removes) all presets from the pool and all samples that are not used in any pat-
tern in the project from the RAM memory. The presets and samples are not removed from the +Drive
library. This option is only available when you select the currently loaded project.

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14.2 SONG
In this menu, you can perform tasks related to songs. For more information, please see "10.9 SONG MODE"
on page 50.

14.2.1 RENAME
Opens the NAMING screen where you can rename the active song.

14.2.2 CLEAR
Clears the active song.

14.2.3 LOAD
Opens a screen where you can select and load songs

14.2.4 SAVE TO PROJ

Saves the active song to the project.

14.3 PATTERN MENU

Use the PATTERN menu to perform pattern management. Use the [UP] and [DOWN] arrow keys to move
between the options. Press [YES] to confirm your selection. Press [NO] to exit the menu.

14.3.1 RENAME
Opens the NAMING screen where you can rename the active pattern.

14.3.2 CLEAR
• WHOLE PATTERN Clears the active pattern’s sequencer data and kit. A prompt appears when you
select this option. Press [YES] to clear, or [NO] to cancel the operation. Note that no pattern informa-
tion will be permanently lost until the pattern is saved to the same pattern slot that it was loaded from.
• KIT DATA Clears the active pattern’s kit. All sequencer data will remain unchanged. A prompt ap-
pears when you select this option. Press [YES] to clear, or [NO] to cancel the operation. Note that no
kit information will be permanently lost until the pattern is saved to the same pattern slot that it was
loaded from.
• SEQUENCE DATA Clears the active pattern’s sequence data. All presets will remain unchanged. A
prompt appears when you select this option. Press [YES] to clear, or [NO] to cancel the operation.
Note that no sequencer information are permanently lost until the pattern is saved to the same pattern
slot it was loaded from.

14.3.3 SAVE TO PROJ

You must have saved the project at least once before you can save pattern information.
• WHOLE PATTERN Saves the active pattern’s sequence data and kit to the +Drive. A prompt appears
when you select this option. Press [YES] to save, or [NO] to cancel the operation.
• KIT DATA Saves the active pattern’s kit to the +Drive. A prompt appears when you select this option.
Press [YES] to save, or [NO] to cancel the operation.

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• SEQUENCE DATA Saves the active pattern’s sequence data to the +Drive. A prompt appears when
you select this option. Press [YES] to save, or [NO] to cancel the operation.

14.3.4 RELOAD FROM PROJ

You must have saved the pattern at least once before you can reload pattern information.
• WHOLE PATTERN Reloads the active pattern’s sequence data and kit from the +Drive. A prompt will
appear when you select this option. Press [YES] to reload, or [NO] to cancel the operation.
• KIT DATA Reloads the active pattern’s kit from the +Drive. A prompt appears when you select this
option. Press [YES] to reload, or [NO] to cancel the operation.
• SEQUENCE DATA Reloads the active pattern’s all sequence data from the +Drive. A prompt appears
when you select this option. Press [YES] to reload, or [NO] to cancel the operation.

14.4 MIDI CONFIG

In this menu, various sub-menus dealing with the MIDI functionality of Digitakt II are found.

14.4.1 SYNC
Controls how Digitakt II receives and sends MIDI clock and transport commands. Change settings by
using the [LEFT]/[RIGHT] arrow keys or the [YES] key.

CLOCK RECEIVE sets whether or not Digitakt II responds to MIDI clock sent from external devices.
CLOCK SEND sets whether or not Digitakt II transmits MIDI clock.
TRANSPORT RECEIVE sets whether or not Digitakt II responds to MIDI transport messages sent
from external devices.
TRANSPORT SEND sets whether or not Digitakt II transmits MIDI transport messages.
PRG CH RECEIVE will, when active, make Digitakt II respond to incoming program change messages,
which is useful when wanting to select patterns externally. The MIDI channel that will listen to incom-
ing program change messages is set in the MIDI CHANNELS menu. For more information, please see
"14.4.3 CHANNELS" on page 78.
PRG CH SEND will, when active, send program change messages when patterns are changed. The
MIDI channel that will send program change messages is set in the MIDI CHANNELS menu. For more
information, please see "14.4.3 CHANNELS" on page 78.

14.4.2 PORT CONFIG

Here you find the MIDI port related settings. Change settings by using the [LEFT]/[RIGHT] arrow keys.

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TURBO SPEED press [YES] to start the turbo speed negotiation. Speed is chosen automatically. Please
note that you must use a MIDI interface that supports the Turbo-MIDI protocol.
OUT PORT FUNCTIONALITY selects what type of signal the MIDI OUT port will send.
• MIDI makes it possible for the port to send out MIDI data.
• DIN 24 will make the port send DIN 24 sync pulses. No MIDI data is transferred over the port when
this option is selected.
• DIN 48 will make the port send DIN 48 sync pulses. No MIDI data is transferred over the port when
this option is selected.
THRU PORT FUNCTIONALITY selects what type of signal the MIDI THRU port will send. The settings
are the same as for OUT PORT FUNCTIONALITY.
INPUT FROM selects the source Digitakt II will receive MIDI data from.
• DISABLED will make Digitakt II disregard any incoming MIDI data.
• MIDI will make Digitakt II listen only to MIDI data sent to the MIDI IN port.
• USB will make Digitakt II listen only to MIDI data sent to the USB port.
• MIDI+USB will make Digitakt II listen to MIDI data sent to both the MIDI IN and USB ports.
OUTPUT TO selects the destination to which Digitakt II will send MIDI data.
• DISABLED will stop Digitakt II from sending out any MIDI data.
• MIDI will make Digitakt II send MIDI data to the MIDI OUT port only.
• USB will make Digitakt II send MIDI data to the USB port only.
• MIDI+USB will make Digitakt II send MIDI data to both the MIDI OUT and USB ports.

If MIDI+USB is selected in the OUTPUT TO settings, MIDI data will limit the USB speed.
When sending large chunks of data, make sure you only use the USB setting.

OUTPUT CH selects whether the DATA ENTRY knobs will send data on the auto channel or the track
channel.
PARAM OUTPUT selects what type of MIDI messages the DATA ENTRY knobs will send. For information
about which CC/NRPN parameters that will be sent, please see "APPENDIX B: MIDI" on page 104.
• CC will make the knobs send out CC MIDI messages.
• NRPN will make the knobs send out NRPN MIDI messages.
ENCODER DEST controls whether the DATA ENTRY and LEVEL/DATA knobs sends MIDI data or not.
When set to INT, the knobs only affects the Digitakt II and no MIDI data is sent. When set to INT + EXT,
the knobs affects the Digitakt II and also sends MIDI data to external devices.
TRIG KEY DEST controls whether the [TRIG] keys sends MIDI data or not. When set to INT, the [TRIG]
keys only affects the Digitakt II and no MIDI data is sent. When set to INT + EXT, the [TRIG] keys affects
the Digitakt II, and also sends MIDI data to external devices. When set to EXT, the [TRIG] keys do not
affect the Digitakt II but MIDI data is sent externally.
MUTE DEST controls whether activating/deactivating mutes will send MIDI data or not. When set to INT,
mute only affects the Digitakt II and no MIDI data is sent. When set to INT + EXT, mute affects the Digita-
kt II and also send MIDI data to external devices. When set to EXT, mute sends MIDI data externally, but
do not affect the Digitakt II.
RECEIVE NOTES will, when active, make it possible to play Digitakt II using an external MIDI keyboard.
RECEIVE CC/NRPN will, when active make it possible to control Digitakt II’s parameters from an external
MIDI device sending CC/NRPN data.

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14.4.3 CHANNELS
This menu handles the MIDI channel configuration.

TRACK 1–16 selects the dedicated MIDI channel that is used to receive or send (by turning the knobs)
parameter data to or from a specific audio track. If configured as OFF, parameter data are neither
received nor sent via MIDI.

The sequencer data is always sent on the MIDI channel specified by the CHAN
parameter on the SRC PARAMETER page.

FX CONTROL CH selects the dedicated MIDI channel that is associated with the parameters on the
DELAY, REVERB, CHORUS, and COMPRESSOR parameter pages together with the master overdrive,
both for input and output. If configured as OFF, parameter data are neither sent nor received via MIDI.
AUTO CHANNEL selects the MIDI channel that will give access to the currently active track. If an ex-
ternal MIDI keyboard connected to Digitakt II sends MIDI data on this channel, the keyboard will con-
trol the active track. This is useful when for example quickly changing between the active audio tracks
to play different presets. The Digitakt II also uses the AUTO channel to record to the MIDI tracks from
external MIDI controllers.
PROGRAM CHG IN CH selects the MIDI channel that will listen for incoming program change mes-
sages. An AUTO setting will use the AUTO channel. Enable Digitakt II to respond to program change
messages in the MIDI SYNC menu. For more information, please see "14.4.1 SYNC" on page 76.
PROGRAM CHG OUT CH selects the MIDI channel that will send program change messages when
changing patterns. An AUTO setting will use the AUTO channel. Enable Digitakt II to send program
change messages in the MIDI SYNC. For more information, please see "14.4.1 SYNC" on page 76.

14.5 SYSEX DUMP

In the SYSEX DUMP menu, project, pattern, and preset data can be sent and received via the MIDI OUT
port or the USB port of the Digitakt II. Select a menu option using [UP]/[DOWN] or the TRACK LEVEL
knob. Press [YES] to open the highlighted menu selection.

When receiving or sending SysEx data, the MIDI ports or the USB port of the Digitakt II should be connect-
ed to the external sending/receiving device.

Please note that Sysex dump only sends and receives project, pattern and preset data. It
does NOT send or receive the presets samples.

14.5.1 SYSEX SEND

Here projects, patterns, and presets can be sent to an external device.

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The column to the left selects what will be backed up. Select the column using the [LEFT] arrow key.
Use the [UP]/[DOWN] keys or the LEVEL/DATA knob to navigate in the column. The SysEx data send
alternatives located in the column to the right will change depending on the selection made in the left
column. Press the [RIGHT] arrow key to access this column. Use the [UP]/[DOWN] keys or the LEVEL/
DATA knob to select what will be sent. Press [YES] to initiate the SysEx send procedure.
PROJECT will send the active project (settings, patterns, presets in the pool).
PATTERN will send the selected pattern.

• Backing up your data regularly is important!

• Before initiating a SysEx send, first, make sure the receiving device is listening for data
to be sent.

14.5.2 SYSEX RECEIVE

Here projects, patterns, and presets can be received from an external device. Digitakt II is continuously
listening for SysEx data so you can at any time send backed up projects or patterns to the device.

The column to the left selects what will be received. Select the column using the [LEFT] arrow key. Use
the [UP]/[DOWN] keys or the LEVEL/DATA knob to navigate in the column. The SysEx data receive
alternatives located in the column to the right will change depending on the selection made in the left
column. Press the [RIGHT] arrow key to access this column. Use the [UP]/[DOWN] keys or the LEVEL/
DATA knob to select what will be received. Press [YES] to initiate the SysEx receive procedure. The
Digitakt II starts listening to incoming data. Press [NO] to stop listening.
PATTERN will store a received pattern to the selected pattern slot.
PRESETS will store a received preset to the selected slot of the +Drive library. The option ANY-
WHERE will place the preset in the first free slot available. To the right of the bank indication, the
amount of free slots can be seen.

14.6 AUDIO ROUTING

Here you find number of audio routing options that affects the Digitakt II on a global level.

14.6.1 TO MAIN
Use this option to customize which of the 16 tracks, 3 effects (Delay, Reverb, Chorus), and inputs that
will send audio to the MAIN OUT outputs. Use [UP]/[DOWN] to switch between the setup pages. Use

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the [TRIG] keys to activate/deactivate the tracks, effects, and inputs that can send to main. Green keys
signal send to main. Unlit keys signal do not send to main.

14.6.2 TO FX
Use this option to customize which of the 16 tracks, 2 effects (Delay, Chorus), and inputs that will send
audio to the effects. Use [UP]/[DOWN] to switch between the setup pages. Use the [TRIG] keys to ac-
tivate/deactivate the tracks, effects, and inputs that can send to FX. Green keys signal send to FX. Unlit
keys signal do not send to main.

14.6.3 USB IN
Sets where the incoming audio from the class compliant device is routed to in the Digitakt II’s signal path.
This parameter is only available when USB CONFIG is set to USB AUDIO/MIDI. For more information,
please see "14.8.1 USB CONFIG" on page 81.
MAIN the incoming audio is routed to the Digitakt II’s main outputs.
OFF No sound is routed from USB to the Digitakt II.

14.6.4 USB OUT

Sets from where in the Digitakt II’s signal path, the outgoing audio is routed to the class compliant device.
This parameter is only available when USB CONFIG is set to USB AUDIO/MIDI. For more information,
please see "14.8.1 USB CONFIG" on page 81.
MAIN the outgoing audio is routed from the Digitakt II’s Main out at the end of the signal path.
L:T1–16/R:T1–16 the outgoing audio is routed from the selected track(s) Press a [TRIG] key twice to
select a single track as a stereo source. The selected track’s [TRIG] key lights up white.
Press first one [TRIG] key and then another to select two separate tracks as sources. The selected
tracks’ [TRIG] keys lights up blue for left channel and red for right channel. The audio from each track
is then summed to mono, routed out and sent separately on left and right channel.
EXT the outgoing audio is routed straight from the Digitakt II’s audio inputs IN L/R to the class compli-
ant device.
OFF no audio is sent to the class compliant device.

14.6.5 INT TO MAIN

Sets if Digitakt II sends internal audio to the MAIN OUT and HEADPHONES OUT or not when used with
a class compliant audio device.
OFF No sound is sent to main out.
ON preset is always sent to main out.

14.6.6 USB TO MAIN [dB]

Sets the amount of amplification of the sound that is streamed over USB to the Digitakt II main out when
used with a class compliant audio device. (0 dB–+18 dB)

14.6.7 PRE/POST FADER

Sets if audio over USB should be pre or post the track level setting.

Audio from the TRACK OUTPUTS is always without any effects.

14.7 PERSONALIZE
Here you can customize a number of settings to fit you personal preferences.

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14.7.1 LED INTENSITY

Sets the brightness of the key LEDs and screen. Use the [LEFT]/[RIGHT] keys to change the setting
(LOW, MID, MAX).

14.7.2 LED BACKLIGHT

Switches the key LEDs backlight on/off.

Press and hold [SETTINGS] for a second and then press [TRIG 1–3] to set the intensity of
the key LEDs and screen. Press and hold [SETTINGS] for a second and then press [TRIG
9] to toggle the key LEDs backlight on/off.

14.7.3 REMEMBER SUBPAGE

Will, when selected, remember which PARAMETER page’s subpage you last used and access this page
again the next time you press the same [PARAMETER] key. Use the [YES] key to toggle this setting.
(ON, OFF).

14.7.4 U/D KEY MODE

Sets the functionality of the [UP]/[DOWN] keys. When set to KB OCT and you are in KEYBOARD mode,
the keys shift keyboard octave up/down when you are in KEYBOARD mode. When you are not in KEY-
BOARD mode, then keys navigates between parameter group pages. When set to NAV, the keys only
navigate between parameter pages.

14.7.5 PAGE AUTOCOPY

Will, when set to on, automatically copy already placed trigs when extending the length of a pattern. If
a pattern consists of for example two pages and the pattern length is increased to four pages, the two
additional pattern pages are then copies of the first two pattern pages. For more information, please see
"10.7 PAGE SETUP MENU" on page 45.

14.8 SYSTEM
The System menu contains a number of system related settings for the Digitakt II.

14.8.1 USB CONFIG

Here you find settings related to USB audio and MIDI. Selecting one mode disables the other two modes.

USB MIDI select this option if you wish to send and receive MIDI over USB.
USB AUDIO/MIDI sets the Digitakt II to send and receive audio and MIDI over USB. Select this option
if you want to use the Digitakt II together with a class compliant USB audio host.

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14.8.2 OS UPGRADE
Use this menu option when you want to upgrade the Digitakt II OS. To send the OS file, use our free Elek-
tron Transfer software. Elektron Transfer can be downloaded from the Elektron website.
The device sending the OS file must be connected to the USB port of Digitakt II.
Please note that the Digitakt II will not appear as an icon on your computer desktop.
1. Download the Digitakt II OS file from the Elektron website.
2. Connect the Elektron device to the computer via USB.
3. Open the Transfer application on your computer.
4. On the Transfer CONNECTIONS page, set the MIDI IN and MIDI OUT ports to your Elektron device.
5. On the Transfer DROP page, drag and drop the OS file. The OS file is then automatically trans-
ferred to the Elektron device and the OS update initiates. A progress bar is visible on device screen
when receiving the OS.
6. On your device. Press [YES] to confirm the OS update.
When the update is done, the Digitakt II will reboot.

14.8.3 FORMAT +DRIVE

You have the possibility to erase all content of the +Drive. Once you have made your choices using the
[LEFT]/[RIGHT] keys and confirmed by pressing [YES], a prompt will appear asking if you want to exe-
cute the formatting procedure. Press [YES] to proceed with the formatting.

PROJ+PST+KIT Erases all projects, presets, and kits.

SAMPLES Erases all samples.

The factory samples can not be erased and they do not take up any of the 20 GB user
space on the +Drive.

14.8.4 STORAGE
Here you get an overview of what is stored in the RAM and the +Drive and how much memory that is
available. Other than the number of Projects, presets, kits, and samples, and you also see the amount of
sample time used and remaining. On the right, you see the memory usage of the RAM and the +Drive.

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15. STARTUP MENU

To access this menu, hold down the [FUNC] key while powering up the Digitakt II. From here you can per-
form a variety of tasks. To choose the different alternatives, press the corresponding [TRIG] key.

15.1 TEST MODE

To enter this mode, press the [TRIG 1] key.

For testing purposes, a short sound is heard through all outputs of the unit.

If you have any trouble with your Digitakt II and suspect it may be due to a hardware problem, perform this
self-test. The [UP] and [DOWN] keys can be used to scroll through the test log. A fully functional device
should not report any errors. If it does report an error, please contact Elektron support or the retailer that
you bought your Digitakt II from.

15.2 EMPTY RESET

To perform this operation, press the [TRIG 2] key. All patterns and presets will be erased. The data on the
+Drive remains intact.

15.3 FACTORY RESET

When performing a factory reset on the Digitakt II, it will overwrite and re-initialize the active RAM project
(including all pattern and global data). The +Drive project slot 1 will be overwritten and re-initialized with
factory preset patterns, presets and settings. preset bank A will be overwritten with the factory presets.
If you wish to keep the active project, remember to save it to a +Drive project slot higher than 1 before you
perform a factory reset. To perform a factory reset, press the [TRIG 3] key.

15.4 OS UPGRADE
Use this menu option if you for some reason cant upgrade the Digitakt II OS using the standard procedure
in the SYSTEM menu. To send the OS file, use our free Elektron Transfer software. The Elektron Transfer
can be downloaded from the Elektron website.
1. Download the Digitakt II OS file from the Elektron website.
2. Connect the Digitakt II’s MIDI IN port to the MIDI OUT port of the computer’s MIDI interface.
3. Hold down the [FUNC] key while powering on Digitakt II. This takes you to the STARTUP menu.
4. Press the [TRIG 4] key to enter OS UPGRADE mode.
5. Open the Transfer application on your computer. On the Transfer CONNECTION page, click “go to the
SYSEX TRANSFER page”.
6. On the SYSEX TRANSFER page, click “OS Upgrade via device startup menu”, and then follow the on-
screen instructions.

When the update is done, the Digitakt II will reboot.

USB MIDI transfer is not possible when upgrading the OS from the STARTUP menu.

15.5 EXIT
Press the [TRIG 5] key to exit the STARTUP menu.

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16. SETUP EXAMPLES

16. SETUP EXAMPLES

The Digitakt II likes to play with other machines. Whether it uses its ability to sync and play with legacy ma-
chines, samples from your smart phone or controls other synthesizers: Digitakt II gets along with other gear.

16.1 DIGITAKT II WITH A MONOPHONIC BASS MACHINE

The DIN sync capabilities of the Digitakt II allows you to use gear from yesteryear.
In this example, a legacy monophonic bass machine is used alongside the Digitakt II. The Digitakt II can
stop, start and control the tempo of the bass machine.
1. Prepare a bassline pattern on the bass machine.
2. Connect the output of the bass machine to the mixer using a Mono jack 6.3 mm male cable.
3. Connect the Digitakt II audio outputs to the mixer using 2 x Mono or Stereo jack 6.3 mm male cables.
4. Use a DIN connector cable to connect the MIDI OUT of the Digitakt II to the SYNC IN of the bass
machine.
5. On the Digitakt II, press [SETTINGS], and then navigate to MIDI CONFIG > PORT CONFIG and set
OUT PORT CONFIG to DIN24.

6. Press [PLAY] on the Digitakt II.

16.2 DIGITAKT II WITH A SMART PHONE

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 16. SETUP EXAMPLES

Digitakt II can make use of its class compliant audio and MIDI functionality together with your computer,
smart phone or tablet. You can let Digitakt II sample audio from the phone or maybe use it the other way
around and record audio from the Digitakt II on your phone. You can use your phone as an effect processor
for the Digitakt II, and among many other things. In this example, we use Digitakt II to sample audio from the
phone.
1. Use a cable or adapter to connect your phone´s data connector jack (Lightning, USB-C or other) to
the Digitakt II’s USB-B jack.
2. Navigate to SETTINGS > SYSTEM > USB CONFIG and select USB AUDIO/MIDI.
3. Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob A to set
SOURCE to USB L R.

4. You are now ready to start sampling audio from your smart phone. For more information about the
sampling process, please see "13. SAMPLING" on page 68.

16.3 CONTROLLING A SYNTHESIZER USING THE MIDI TRACKS

Digitakt II has extensive capabilities to use its sequencer’s MIDI tracks to control other MIDI-equipped
synthesizers.
1. Use a standard MIDI cable to connect the Digitakt II MIDI OUT jack with the synthesizer’s MIDI IN jack.
2. On the Digitakt II, press [SETTINGS], and then navigate to MIDI CONFIG > PORT CONFIG and set
OUT PORT FUNC to MIDI.
3. In the same menu set OUTPUT to MIDI.

4. On the main screen, press [TRK] + [TRIG 1-16] to select a track that uses a MIDI SRC machine.
5. Press [SRC] and use the CHAN parameter to select a MIDI channel that the track will output its data to.
6. Make sure to set your synthesizer to receive MIDI input in a way that corresponds to the settings you
made in the Digitakt II.
You are now ready to use the Digitakt II sequencer to control your synthesizer. For more information about
using the Digitakt II sequencer, please see "10. THE SEQUENCER" on page 40.

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17. KEY COMBINATIONS

17. KEY COMBINATIONS

Use the key combinations below to quickly perform certain tasks.

COPY/PASTE/CLEAR
TRACK SEQUENCE (ALL TRIGS ON THE TRACK)
When in GRID RECORDING mode.
[TRK] + [RECORD] to copy the active track’s sequence.
[TRK] + [STOP] to paste the copied track’s sequence to the active track.
[TRK] + [PLAY] to clear the active track’s sequence.

TRIG
When in GRID RECORDING mode
[TRIG] + [RECORD] to copy the trig with it’s parameter locks.
[TRIG] + [STOP] to paste the copied trig.
[TRIG] + [PLAY] to clear the trig.

PATTERN
[FUNC] + [RECORD] to copy the active pattern.
[FUNC] + [STOP] to paste the copied pattern to the active pattern.
[FUNC] + [PLAY] to clear the active pattern.

PRESET
When in regular trig mode.
[TRK] + [RECORD] to copy the selected track’s preset.
[TRK] + [STOP] to paste the copied preset to the selected track.
[TRK] + [PLAY] to clear the selected track’s preset.

SEQUENCER PAGE
When in GRID RECORDING mode
[PAGE] + [RECORD] to copy the active page.
[PAGE] + [STOP] to paste the copied page to the active page.
[PAGE] + [PLAY] to clear the active page.

TRACK/PATTERN/BANK SELECT
[TRK] + [TRIG 1-16] keys to select a track.
[PTN] and [LEFT]/[RIGHT] and [TRIG 1-16] keys to select a bank/pattern.

NAMING
[FUNC] + [ARROW] (on the NAMING screen) to choose a letter.
[FUNC] + [NO] (on the NAMING screen) to erase a letter.
[FUNC] + [YES] (on the NAMING screen) to add a blank space.

SAVING AND RELOADING

PATTERN
[FUNC] + [NO] to reload the active pattern.
[FUNC] + [YES] to temporarily save the active pattern.

PRESET
When in GRID RECORDING mode.
[TRIG] + [PRESET/KIT] save the sound of a trig as a preset, taking all parameter locks in consideration.
[TRIG] + [YES] previews the trig.

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 17. KEY COMBINATIONS

[FUNC] + [SETTINGS] saves the active project.

[FUNC] + [YES] temporary saves the active pattern.
[FUNC] + [NO] temporary reloads the active pattern.

[PARAMETER] key + [NO] reloads all parameters on that parameter page from its last saved state
[PARAMETER] key + [YES] randomizes parameters on that parameter page
[TRK] + [TRIG1–16] + [NO] reloads the preset from its last saved state

NAVIGATING
[FUNC] + [RIGHT] (In the SAMPLES menu) opens a directory.
[FUNC] + [LEFT] (In the SAMPLES menu) exits a directory and backs one step up in the directory hierarchy.

MENU ACCESS
[FUNC] + [SONG] opens the SONG EDIT menu.
[FUNC] + [TRIG PARAMETERS] opens the QUANTIZE menu.
[FUNC] + [SRC] opens the MACHINE menu.
[FUNC] + [FLTR] opens the SETUP menu.
[FUNC] + [AMP] opens the SEQUENCER menu.
[FUNC] + [FX] opens the SEND FX pages.
[FUNC] + [MOD] opens the MIXER pages.
[FUNC] + [PAGE] opens the pattern/track PAGE SETUP menu.
[FUNC] + [KEYBOARD] to go to keyboard setup menu.

SEQUENCER SETTINGS
[FUNC] + [TEMPO] to tap tempo.
[LEFT/RIGHT] to nudge tempo (when sequencer is playing).
[FUNC] + [LEFT/RIGHT] moves all trigs a whole step, left or right (when in GRID RECORDING mode).
[TRIG] key (hold) + [LEFT/RIGHT], opens the MICRO TIMING menu and sets the micro timing for the trig
(when in GRID RECORDING mode).
[FUNC] + [UP]/[DOWN] (In the PAGE SETUP menu) sets the TRACK LENGTH in musical increments from
2/16 to 64/64.

SEQUENCER RECORDING
[RECORD] + [PLAY] starts LIVE RECORDING.
[RECORD] + [STOP] activates STEP RECORDING.
[RECORD] + double-press [PLAY] activates/deactivates QUANTIZE LIVE RECORDING.
Hold [PAGE] and press [LEFT]/[RIGHT] to change sequencer page, or hold [PAGE] and press one of the
lit [TRIGS] to jump to that page (when in GRID RECORDING mode).

MUTES
[FUNC] + [TRIG] keys mutes/unmutes one or several tracks.
When in MUTE mode, press and hold [FUNC] + [TRIG] keys to prepare the track to be muted/unmuted.
Releasing [FUNC] will perform the action.

MODES
[FUNC] + [TRK] enters GLOBAL MUTE mode.
[FUNC] + double-press [TRK] enters PATTERN MUTE mode.
[KEYBOARD] enters/exits KEYBOARD mode.
[YES] + [PAGE] activates FILL mode for one pattern cycle. Pressing [PAGE] again deactivates FILL mode.

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17. KEY COMBINATIONS

When not in GRID RECORDING mode, press and hold [PAGE] to activate FILL Mode for as long as [PAGE]
is held.
Press and hold [PAGE] + [YES], and then release [PAGE] before you release [YES] to latch FILL mode.
Press [PAGE] again to unlatch FILL mode.

RESET PARAMETERS
Press DATA ENTRY knob + [NO] to reset the parameter to the default value.
[PARAMETER] key + [PLAY] to reset all the parameters in the selected parameter page to
default values.

SAMPLE/SOUND/TRIG PREVIEW
[FUNC] + [YES] (In the SAMPLES menu) previews the highlighted sample.
[FUNC] + [YES] (In the SOUND BROWSER/SOUND MANAGER) previews the highlighted preset.
[TRIG] + [YES] (In GRID- and STEP RECORDING mode) previews the selected trig.

SONG MODE
[SONG] + [TRIG 1–16] to select song and enter SONG mode.
[FUNC] + [SONG] to open the SONG EDIT screen.
[SONG] + [LEFT] (when in SONG mode) to loop the currently playing row. Press [SONG] + [LEFT] again to
stop looping the row and return to normal song playback.
[SONG] + [UP] (when in SONG mode) to move the song pointer up one row.
[SONG] + [DOWN] (when in SONG mode) to move the song pointer down one row.
Press [SONG] (when in SONG mode) twice to open the SONG EDIT screen.
[FUNC] + [RECORD] (when in the SONG EDIT screen) copies the selected row.
[FUNC] + [STOP] (when in the SONG EDIT screen) pastes a previously copied row to the selected row.
[FUNC] + [PLAY] (when in the SONG EDIT screen) resets the selected row to the pattern’s default BPM,
length, and mute state.
[FUNC] + [DOWN] (when in the SONG EDIT screen) adds a new row.
[FUNC] + [UP] (when in the SONG EDIT screen) deletes the selected row.

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 18. TECHNICAL INFORMATION

18. TECHNICAL INFORMATION

ELECTRICAL SPECIFICATIONS HARDWARE

Impedance balanced audio outputs 128 × 64 pixel OLED screen
Main outputs level: +18 dBu peak MIDI In/Out/Thru with DIN Sync out
Output impedance: 440 Ω unbalanced 2 × 1/4” impedance balanced audio out jacks
Headphones output 2 × 1/4” balanced audio in jacks
Headphones out level: +18 dBu peak 1 × 1/4” stereo headphone jack
Output impedance: 36 Ω 48 kHz, 24-bit D/A and A/D converters
Hi-speed USB 2.0 port
Audio inputs Power inlet: Center positive 5.5 × 2.5 mm barrel jack,
Input level: +18 dBu peak 12 V DC, 1 A
Audio input impedance: 21 kΩ
PHYSICAL SPECIFICATIONS
Unit power consumption: 7 W typical Sturdy steel casing
Recommended power supply: PSU-3c Dimensions: W 215 × D 176 × H 63 mm
12 V DC, 2A (8.5” × 6.9” × 2.5”) (including knobs and feet)
Weight: approximately 1.48 kg (3.25 lbs)
100 × 100 mm VESA mounting holes. Use M4 screws
with a max length of 7 mm.
Maximum recommended ambient operating
temperature: +40˚C (+104˚F)

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19. CREDITS AND CONTACT INFORMATION

19. CREDITS AND CONTACT INFORMATION

CREDITS FACTORY LIBRARY SAMPLES
Adventure Kid (Kristoffer Ekstrand)
ELEKTRON CREW
BlankFor.ms
Lennart Ahlstedt
Matt Davies
Johannes Algelind
Lisa Nordström
Magnus Almberg
Elin Piel
Christian Alsing
Johan Reivén
Hans Alvarsson
User Friendly
Deva Andar
Craig Williams
Nikolaj Andersson
The Elektron crew
Madeleine Antonsson
Anyere Bendrien
Andreas Brykt FACTORY PATTERN DESIGN
The Elektron crew
Chloe Corley
Johan Damerau
Oscar Dragén
Magnus Forsell CONTACT INFORMATION
Jennifer Giöbel
Birgitta Hedström ELEKTRON WEBSITE
Mario Adriane Hernandez https://www.elektron.se
Tomas Hjalmarsson
Thomas Jansson OFFICE ADDRESS
Patrik Johansson Elektron Music Machines MAV AB
Christian Karlsson Banehagsliden 5
George Kaplan SE-414 51 Gothenburg
Åsa Larsson Sweden
Erik Liakhovets
Christer Lindström
Joel Lundberg
Johannes Mai
Enrique Martinez
Jimmy Myhrman
Viktor Nilsson
Jean Michel Pepin
Mattias Rickardsson
Patrik Rinvall
David Smallbone Tizard
Che Thomas
Jake Widgeon
Vladislav Zhukov
Erik Ångman

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 APPENDIX A: MACHINES

APPENDIX A: MACHINES
A machine is a module within the Digitakt II with specific functionality. A machine can be switched out for
another machine in the same category. For example different sample playback engines or a selection of
filters. Every machine has a specific set of parameters tailored to give you the most relevant and useful
sound-shaping possibilities for that particular machine. For more information, please see "5.3.1 AUDIO
TRACKS AND MACHINES" on page 17.

A.1 ASSIGNING MACHINES TO THE ACTIVE TRACK

1. Press [FUNC] + [SRC] to open the MACHINE menu.
2. Use the [LEFT]/[RIGHT] keys to navigate to the desired machine category.
3. Use the [UP]/[DOWN] keys to select machine, and then press [YES] to assign the selected machine
to the track.

The rest of this appendix lists the machine-specific parameters on the SRC and FLTR pages. The selected
machine determines the parameters available. SRC page 2 contains the same parameters as on page 1 but
with a view of the sample waveform. For more information, please see "11.4 SRC PAGE" on page 55.

A.2 SRC MACHINES

The SRC machines are sound engines that uses a particular subset of the functionality of the sample play-
back engine. In this section you also find the MIDI machine that lets you control external, MIDI equipped,
gear. For more information, please see "5.3.2 MIDI TRACKS" on page 17. You can assign any SRC ma-
chine to any track.

A.2.1 ONESHOT
The Oneshot machine is the default machine and plays the sample linearly (forward, reversed, or looped).
Press [SRC] to access this parameter page and to toggle between page 1 and page 2.

TUNE
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the
pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then turn the DATA ENTRY
knob to snap parameter values to full octaves. Press and turn the DATA ENTRY knob to snap parame-
ter values to semitones.

PLAY
Play Mode sets the play mode of the sample. It controls how the sample will be played back when it is
trigged.
The different modes are:
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
How long it will loop for is set with the LEN parameter on the TRIG page. This time is also con-
strained by the AMP page envelope parameters HLD and DEC.

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APPENDIX A: MACHINES

• FORWARD LOOP The sample starts at the STRT position and will loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
This time is also constrained by the AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is triggered.

SAMP
Sample Select. Here you can browse the list of up to 1016 samples loaded to the project, and assign
them to the audio tracks. The first position, OFF, plays no sample. You must load a sample from the
+Drive to the project before assigning it to a track. For more information, please see "13.3 ASSIGNING
A SAMPLE TO A TRACK FROM THE +DRIVE" on page 69. You can apply parameter locks to the
SAMP parameter and change the sample on any step of the sequencer, so called Sample locks. For
more information, please see "10.8.1 PARAMETER LOCKS" on page 47.

STRT
Start sets the start position for playback of the sample.

LEN
Length sets the length of the playback of the sample. Start + Length effectively defines the end point
of the portion of the sample that is played.

LOOP
Loop Pos sets the position in the sample to where playback will return to after reaching the Length
Position (defined by STRT + LEN) of the sample if PLAY MODE is set to FORWARD LOOP. The sam-
ple is then looped between the end of LEN and LOOP. If PLAY MODE is set to REVERSE LOOP, the
sample will start at LEN then move backwards to LOOP and then loop between of LEN and LOOP.

LEV
Sample Level sets the level of the sample.

If you press and hold [SRC], you can see the name of the currently loaded sample.

The STRT, LEN, and LOOP parameters.

Start
Loop Position
Length

FORWARD LOOP play mode.

Loop Loop Loop
Start Position Length Start Length Position Position Start Length

A.2.2 WERP
The Werp machine allows samples and loops to automatically stretch to the tempo of your project or
pattern. The stretching is achieved through warping the audio. The sample is cut into small time seg-
ments and played consecutively aligned to the tempo.

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 APPENDIX A: MACHINES

Press [SRC] to access this parameter page and to toggle between page 1 and page 2.

TUNE
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the
pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then turn the DATA ENTRY
knob to snap parameter values to full octaves. Press and turn the DATA ENTRY knob to snap parame-
ter values to semitones.

PLAY
Play Mode sets the play mode of the sample. It controls how the sample will be played back when
trigged.
The different modes are:
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
How long it will loop for is set with the LEN parameter on the TRIG page. This time is also con-
strained by the AMP page envelope parameters HLD and DEC.
• FORWARD LOOP The sample starts at the STRT position and will loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
This time is also constrained by the AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is trigged.

SAMP
Sample Select. Here you can browse the list of up to 1016 samples loaded to the project, and assign
them to the audio tracks. The first position, OFF, plays no sample. You must load a sample from the
+Drive to the project before assigning it to a track. For more information, please see "13.3 ASSIGNING
A SAMPLE TO A TRACK FROM THE +DRIVE" on page 69. You can apply parameter locks to the
SAMP parameter and change the sample on any step of the sequencer, so called Sample locks. For
more information, please see "10.8.1 PARAMETER LOCKS" on page 47.

SEG
Segment Size determines the size of the segments, effectively setting the number of segments the
sample is cut into. The higher the value, the larger/fewer segments.

MODE
Segment Mode lets you select how each individual segment will be played back.
The different modes are:
• REVERSE Each segment will be played in reverse once.
• REVERSE LOOP Each segment will loop continuously in reverse until the next segment starts to
play.
• FORWARD LOOP Each segment will loop continuously forward until the next segment starts to
play.
• FORWARD Each segment will be played in forward mode once every time it is triggered.

BARS
Bars sets the total duration of the sample measured in bars and is relative to the set BPM.

LEV
Sample Level sets the level of the sample.

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APPENDIX A: MACHINES

A.2.3 STRETCH
The Stretch machine allows samples and loops to automatically stretch to the tempo of your project or
pattern by chopping the audio up into tiny grains and then fading between them.

TUNE
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the
pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then turn the DATA ENTRY
knob to snap parameter values to full octaves. Press and turn the DATA ENTRY knob to snap parame-
ter values to semitones.

PLAY
Play Mode sets the play mode of the sample. It controls how the sample will be played back when it is
trigged.
The different modes are:
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
How long it will loop for is set with the LEN parameter on the TRIG page. This time is also con-
strained by the AMP page envelope parameters HLD and DEC.
• FORWARD LOOP The sample starts at the STRT position and will loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
This time is also constrained by the AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is triggered.

SAMP
Sample Select. Here you can browse the list of up to 1016 samples loaded to the project, and assign
them to the audio tracks. The first position, OFF, plays no sample. You must load a sample from the
+Drive to the project before assigning it to a track. For more information, please see "13.3 ASSIGNING
A SAMPLE TO A TRACK FROM THE +DRIVE" on page 69. You can apply parameter locks to the
SAMP parameter and change the sample on any step of the sequencer, so called Sample locks. For
more information, please see "10.8.1 PARAMETER LOCKS" on page 47.

STRT
Start sets the start position for playback of the sample.

LEN
Length sets the length of the playback of the sample. Start + Length effectively defines the end point
of the portion of the sample that is played.

BARS
Bars sets the total duration of the sample measured in bars and is relative to the set BPM.

LEV
Sample Level sets the level of the sample.

A.2.4 REPITCH
The Repitch machine allows samples and loops to be automatically stretched to the tempo of your pat-
tern. It achieves this by automatically applying repitching of the sample to match the target tempo. Press
[SRC] to access this parameter page and to toggle between page 1 and page 2.

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 APPENDIX A: MACHINES

PLAY
Play Mode sets the play mode of the sample. It controls how the sample will be played back when it is
trigged.
The different modes are:
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
How long it will loop for is set with the LEN parameter on the TRIG page. This time is also con-
strained by the AMP page envelope parameters HLD and DEC.
• FORWARD LOOP The sample starts at the STRT position and will loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
This time is also constrained by the AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is triggered.

SAMP
Sample Select. Here you can browse the list of up to 1016 samples loaded to the project, and assign
them to the audio tracks. The first position, OFF, plays no sample. You must load a sample from the
+Drive to the project before assigning it to a track. For more information, please see "13.3 ASSIGNING
A SAMPLE TO A TRACK FROM THE +DRIVE" on page 69. You can apply parameter locks to the
SAMP parameter and change the sample on any step of the sequencer, so called Sample locks. For
more information, please see "10.8.1 PARAMETER LOCKS" on page 47.

STRT
Start sets the start position for playback of the sample.

LEN
Length sets the length of the playback of the sample. Start + Length effectively defines the end point
of the portion of the sample that is played.

BARS
Bars sets the total duration of the sample measured in bars and is relative to the set BPM.

LEV
Sample Level sets the level of the sample.

A.2.5 GRID
The Grid machine allows samples to be automatically sliced into similarly-sized segments (slices) and
triggered individually. Press [SRC] to access this parameter page and to toggle between page 1 and
page 2.

TUNE
Tune sets the pitch of the sample. The knob works in a bipolar fashion, and a value of 0 leaves the

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APPENDIX A: MACHINES

pitch unchanged. The range is +/- 5 octaves. Press and hold [FUNC], and then turn the DATA ENTRY
knob to snap parameter values to full octaves. Press and turn the DATA ENTRY knob to snap parame-
ter values to semitones.

PLAY
Play Mode sets the play mode of the sample. It controls how the sample will be played back when it is
trigged.
The different modes are:
• REVERSE The sample will be played back in reverse once every time it is trigged.
• REVERSE LOOP The sample will loop continuously in reverse between Loop Position and Length.
How long it will loop for is set with the LEN parameter on the TRIG page. This time is also con-
strained by the AMP page envelope parameters HLD and DEC.
• FORWARD LOOP The sample starts at the STRT position and will loop continuously between
Loop Position and Length. How long it will loop for is set with the LEN parameter on the TRIG page.
This time is also constrained by the AMP page envelope parameters HLD and DEC.
• FORWARD The sample will be played back once every time it is trigged.

SAMP
Sample Select. Here you can browse the list of up to 1016 samples loaded to the project, and assign
them to the audio tracks. The first position, OFF, plays no sample. You must load a sample from the
+Drive to the project before assigning it to a track. For more information, please see "13.3 ASSIGNING
A SAMPLE TO A TRACK FROM THE +DRIVE" on page 69. You can apply parameter locks to the
SAMP parameter and change the sample on any step of the sequencer, so called Sample locks. For
more information, please see "10.8.1 PARAMETER LOCKS" on page 47.

SLICE
Slice Select lets you set which slice to play. If set to NOTE you can use the TRIG keys in KEYBOARD
mode or incoming MIDI note data to determine which slice to play.

All the settings in the KEYBOARD SETUP menu are ignored for a track that uses the
Grid machine and when SLICE is set to NOTE. Instead slices plays from C1 and upwards,
wrapping around after the last slice. The first slice is highlighted with a blue [TRIG] key in
KEYBOARD mode.

LEN
Slice Length sets how many slices that will play consecutively.

GRID
Slice Grid sets the number of slices the sample is cut in. The slices are evenly spread out over the
whole length of the sample.

LEV
Sample Level sets the level of the sample.

By using parameter locks of the SLICE parameter, you can set which slice the sequenc-
er will play on a trig. But you can also automatically allocate slices to already placed
trigs. There are two different choices for how they can be allocated.
LINEAR LOCKS The slices are allocated linearly to the trigs, starting with the first slice
on the first placed trig.
RANDOM LOCKS The slices are allocated randomly to the trigs.
1. Select the GRID machine for the active track.
2. Place trigs on the sequencer.
3. On the SRC page, press [YES] to open the ALLOCATE SLICE menu
4. Use [UP]/[DOWN] to select CREATE LINEAR LOCKS or CREATE RANDOM
LOCKS
5. Press [YES] to create locks to allocate slices. With CREATE RANDOM LOCKS
selected, the slice allocation will randomize every time you press [YES].
6. Press [NO] to exit the menu.

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 APPENDIX A: MACHINES

A.2.6 MIDI
The parameters for the MIDI machine are split over the TRIG, SRC, FLTR and AMP PARAMETER pages.
The FX page contains no parameters The MOD pages are the same as for audio tracks, but there are
two LFOs available for MIDI tracks.

TRIG PAGE 1
Set the actions for when a note is trigged. Change settings using the DATA ENTRY knobs. These
general settings affect note trigs placed in the sequencer.
Press [TRIG PARAMETERS] to access this parameter page.

NOTE
Trig Note sets the pitch of the note when trigged. When in LIVE RECORDING mode and playing
in KEYBOARD mode, the pitch of the [TRIG] keys played will override this setting. Press and turn
DATA ENTRY knob A to select only note values that exist in the scale set by KB SCALE. For more
information, please see "8.5.2 KEYBOARD SETUP MENU" on page 25.

VEL
Trig Velocity sets the velocity of the sequencer’s note trigs.

LEN
Trig Length sets the length of the note trig. In LIVE RECORDING mode, the duration of pressing the
[TRIG] keys overrides this general setting.

PROB
Trig Probability sets the probability that the trigs on the track plays or not. The probability outcome
is re-evaluated every time a trig is set to play. The default setting is 100%, meaning that all the trigs
on the track plays every time. This parameter can be parameter locked which lets you give separate
trigs their own probability.

LFO.T
LFO Trig controls if the LFO will be trigged or not.

NOT2–NOT4
Note 2–4 will add more notes, offset from the root note by the selected values, to a note trig. This
makes it possible for a MIDI track to send out chords that consists of up to 4 notes. If the root note
is changed the offset notes will transpose accordingly. A value of 0 will remove the offset note.

TRIG PAGE 2
Here you set the trig conditions. Change settings using the DATA ENTRY knobs. These general set-
tings all affect note trigs placed in the sequencer.
Press [TRIG PARAMETERS] twice to access this parameter page.

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APPENDIX A: MACHINES

FILL
Fill is a separate trig condition that determines if a trig is active (plays) or not depending on if the
device is in FILL mode or not. For more information, please see "10.8.4 FILL MODE" on page 49,
and "10.7.3 TRIG CONDITIONS AND CONDITIONAL LOCKS" on page 48.
ON A trig with FILL set to ON, is active (plays the trig) when FILL mode is active.
OFF A trig with FILL set to OFF is active when FILL mode is not active.

COND
(Trig Condition) when you add a conditional lock. COND sets the Trig Condition with which a set of
conditional rules can be applied to any trig, using a parameter lock. For more information, please
see "10.7.3 TRIG CONDITIONS AND CONDITIONAL LOCKS" on page 48.
SRC page
Here you can set the MIDI channel that the MIDI machine should use to send data. Bank and program
change values are also set here, together with a few standard CC parameters. The default value of
the parameters on this page is OFF, meaning they are disabled and do not send out any data. Press
and hold [FUNC] and then press the DATA ENTRY knobs to enable them. You can then use the DATA
ENTRY knobs to set the parameter values as usual. Disable the parameters again by repeating the
activation procedure.
Press [SRC] once to access this parameter page.

CHAN (Channe) sets the MIDI channel the track sends MIDI data to. If you set this parameter to
OFF, it turns the MIDI track off. Please note that this parameter cannot be parameter locked. (OFF,
1–16)

BANK (Bank) sends a bank change message on CC 0 MSB.

SBNK (Sub Bank) sends a bank change message on CC 32 LSB.
PROG (Program Change) sends a Program Change message.
PB (Pitch Bend) controls the pitch bend data sent on the MIDI track.
AT (Aftertouch) controls the aftertouch data sent on the MIDI track.
MW (Mod Wheel) controls the modulation wheel data sent on the MIDI track.
BC (Breath Controller) controls the breath control data sent on the MIDI track.

FLTR PAGE 1
Here you can set the values of the first eight assignable CC commands. The default value of the pa-
rameters on this page is OFF, meaning they are disabled and do not send out any data. Press and hold
[FUNC] and then press the DATA ENTRY knobs to enable them. You can then use the DATA ENTRY
knobs to set the parameter values as usual. Disable the parameters again by repeating the enabling
procedure.
Press [FLTR] to access this parameter page.

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 APPENDIX A: MACHINES

VAL1-VAL8 (CC 1–8 Value) controls the values that the CC commands send. You specify the CC
commands themselves on FLTR page 2. These parameters default value is OFF. Press [FUNC]
+ DATA ENTRY knobs to activate the parameters and then turn the DATA ENTRY knobs to set a
value.

Here you also have the possibility to name the parameter whose value you control. Press
and hold [FUNC] and then press and hold any DATA ENTRY knob to access the naming
screen. For more information, please see "6.5 THE NAMING SCREEN" on page 19.

FLTR PAGE 2
Here you select the first eight CC commands whose values you set with the parameters on the FLTR
page 1. Press the corresponding knob or [YES] to activate the CC command change.
Press [FLTR] twice to access this parameter page.

SEL1-SEL8 (CC 1–8 Select) specifies the CC commands whose values you control controlled by
the parameters on the AMP PAGE 1 (CC VALUE) page. The selectable commands are the standard
MIDI Control Change Messages.

You can specify the CC command for the SEL parameters by sending the CC value from
the external MIDI equipped device you want to control.
1. On FLTR PAGE 2 or AMP PAGE 2 press and hold [FUNC] + DATA ENTRY knob A-H.
2. When the popup screen MIDI LEARN appears, and the parameter starts flashing,
you can send a MIDI CC value on the active track’s MIDI channel (set in the SET-
TINGS > MIDI CONFIG > CHANNELS menu) or on the auto channel.
3. The popup disappears and the parameter stops flashing when the sent CC value is
received and configured on the selected SEL parameter. You can cancel MIDI learn
by pressing [NO] twice.

AMP PAGE 1
Here you can set the values for eight additional assignable CC commands.

VAL9-VAL16 (CC 9–16 Value) controls the values that the CC commands send. You specify the
CC commands themselves on AMP page 2. These parameters default value is OFF. Press [FUNC]
+ DATA ENTRY knobs to activate the parameters and then turn the DATA ENTRY knobs to set a
value.
Press [AMP] to access this parameter page.

AMP PAGE 2
Here you select the eight additional CC commands whose values you set with the parameters on AMP
page 1. Press the corresponding knob or [YES] to activate the parameter change.
SEL9-SEL16 (CC 9–16 Select) specifies the CC commands whose values you control controlled by
the parameters on the AMP page 1 (CC VALUE) page. The selectable commands are the standard
MIDI Control Change Messages.
Press [AMP] twice to access this parameter page.

Please note that the MIDI machine has two LFOs.

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APPENDIX A: MACHINES

A.3 FLTR MACHINES

The FLTR machines are a collection of different filters and EQ.

A.3.1 MULTI-MODE
This filter lets you morph from a Lowpass to Bandpass to Highpass filter

ATK
Attack Time sets the length of the attack phase of the filter envelope.

DEC
Decay Time sets the length of the decay phase of the filter envelope.

SUS
Sustain Level sets the sustain level of the filter envelope.

REL
Release Time sets the length of the release phase of the filter envelope.

FREQ
Frequency sets the cutoff frequency of the multi-mode filter and the center frequency of the EQ.

RESO/GAIN
Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at
the cutoff frequency. Gain sets the amount of boost/cut around the center frequency of the EQ.

TYPE
Type morphs the multimode filter from Lowpass to Bandpass to Highpass

ENV
Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipo-
lar, both negative and positive modulation depths are available.

Env. Attack Decay Release

AMPLITUDE

Delay
Sustain

Note On Note Off

TIME

A.3.2 LOWPASS 4
This is a 4-pole low-pass filter with a 24 dB slope.

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 APPENDIX A: MACHINES

ATK
Attack Time sets the length of the attack phase of the filter envelope.

DEC
Decay Time sets the length of the decay phase of the filter envelope.

SUS
Sustain Level sets the sustain level of the filter envelope.

REL
Release Time sets the length of the release phase of the filter envelope.

FREQ
Frequency sets the cutoff frequency of the filter.

RESO
Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at
the cutoff frequency.

ENV
Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipo-
lar, both negative and positive modulation depths are available.

A.3.3 EQ
This machine is a parametric Equalizer.

ATK
Attack Time sets the length of the attack phase of the EQ envelope.

DEC
Decay Time sets the length of the decay phase of the EQ envelope.

SUS
Sustain Level sets the sustain level of the EQ envelope.

REL
Release Time sets the length of the release phase of the EQ envelope.

FREQ
Frequency sets the center frequency of the EQ.

GAIN
Gain sets the amount of boost/cut around the center frequency of the EQ.

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APPENDIX A: MACHINES

Q
Q lets you select the bandwidth of the frequency range that the EQ affects. The higher the Q value,
the narrower the bandwidth. A broad bandwidth boosts or cuts a larger band of frequencies than a
narrow.

ENV
Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipo-
lar, both negative and positive modulation depths are available.

The parametric EQ is used to boost desired frequencies or to remove unwanted frequen-

cies of the sound.

A.3.4 COMB
The comb filter introduces metallic sounding, pitch tuned, resonant overtones.

ATK
Attack Time sets the length of the attack phase of the filter envelope.

DEC
Decay Time sets the length of the decay phase of the filter envelope.

SUS
Sustain Level sets the sustain level of the filter envelope.

REL
Release Time sets the length of the release phase of the filter envelope.

FREQ
Frequency sets the resonant frequencies of the comb filter.

FDBK
Feedback sets the gain of the feedback signal.

LPF
Low Pass Filter sets the cutoff frequency of the low pass filter that is implemented in the feedback
signal.

ENV
Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipo-
lar, both negative and positive modulation depths are available.

A.3.5 LEGACY
The legacy filter is inspired by the filter from Digitakt I and is a filter that is switchable between Lowpass
and Highpass.

102
 APPENDIX A: MACHINES

ATK
Attack Time sets the length of the attack phase of the filter envelope.

DEC
Decay Time sets the length of the decay phase of the filter envelope.

SUS
Sustain Level sets the sustain level of the filter envelope.

REL
Release Time sets the length of the release phase of the filter envelope.

FREQ
Frequency sets the cutoff frequency of the filter.

RESO
Resonance sets the resonance behavior of the filter. Resonance introduces a peak in the spectrum at
the cutoff frequency.

TYPE
Filter Type lets you select between a Lowpass or Highpass filter, both 2-pole, 12 dB.

ENV
Env. Depth sets the amount of cutoff frequency modulation from the filter envelope. The knob is bipo-
lar, both negative and positive modulation depths are available.

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APPENDIX B: MIDI

APPENDIX B: MIDI
This appendix lists the CC and NRPN specification for the Digitakt II.

B.1 TRACK PARAMETERS

TRACK
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Mute 94 1 101
Track level 95 1 100

B.2 TRIG PARAMETERS

TRIG PARAMETERS
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Note 3 3 0
Velocity 4 3 1
Length 5 3 2
Filter Trig 13
LFO Trig 14
Portamento Time 9 3 7
Portamento On/Off 65 3 8

B.3 SOURCE PARAMETERS

SOURCE
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Tune 16 1 0
Play Mode 17 1 1
Sample Select 1 3
Data entry knob E (machine dependent) 20 1 4
Data entry knob F (machine dependent) 21 1 5
Data entry knob G (machine dependent) 22 1 6
Sample Level 23 1 7

B.4 FILTER PARAMETERS

FILTER
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Filter Frequency 74 1 20
Data entry knob F (machine dependent) 75 1 21
Data entry knob G (machine dependent) 76 1 22
Env. Depth 77 1 23
Attack Time 70 1 16
Decay Time 71 1 17
Sustain Level 72 1 18
Release Time 73 1 19
Env. Delay 91 1 23
Key Tracking 92 1 69
Base 84 1 51

104
 APPENDIX B: MIDI

FILTER
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Width 85 1 52
Env. Reset 111 1 68

B.5 AMP PARAMETERS

AMP
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Attack Time 79 1 30
Hold Time 80 1 31
Decay Time 81 1 32
Sustain Level 82 1 33
Release Time 83 1 34
Env. Reset 88 1 41
Mode 87 1 40
Pan 90 1 38
Volume 89 1 39

B.6 EUCLIDEAN SEQUENCER PARAMETERS

AMP
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Pulse Generator 1 3 8
Pulse Generator 2 3 9
Euclidean Mode On/Off 3 14
Rotation Generator 1 3 11
Rotation Generator 2 3 12
Track Rotation 3 13
Boolean Operator 3 10

B.7 FX PARAMETERS
AMP
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Bit Reduction 54
Overdrive 57
Sample Rate Reduction 55
SRR Routing 56
Delay Send 84 1 36
Reverb Send 85 1 37
Chorus Send 86 1 38

B.8 MOD PARAMETERS

Note that the LFO 1/2/3 speed and depth are high-resolution parameters, with CC LSB values.

LFO 1
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Speed 102 58 1 42
Multiplier 103 1 43
Fade In/Out 104 1 44

105
APPENDIX B: MIDI

LFO 1
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Destination 105 1 45
Waveform 106 1 46
Start Phase 107 1 47
Trig Mode 108 1 48
Depth 109 59 1 49

LFO 2
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Speed 112 60 1 50
Multiplier 113 1 51
Fade In/Out 114 1 52
Destination 115 1 53
Waveform 116 1 54
Start Phase 117 1 55
Trig Mode 118 1 56
Depth 119 61 1 57

LFO 3
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Speed 78 62 1 58
Multiplier 52 1 59
Fade In/Out 53 1 60
Destination 28 1 61
Waveform 29 1 62
Start Phase 30 1 70
Trig Mode 31 1 71
Depth 86 63 1 72

B.9 SEND FX PARAMETERS

DELAY
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Delay Time 21 2 0
Pingpong 22 2 1
Stereo Width 23 2 2
Feedback 24 2 3
Highpass Filter 25 2 4
Lowpass Filter 26 2 5
Reverb Send 27 2 6
Mix Volume 28 2 7

REVERB
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Predelay 29 2 8
Decay Time 30 2 9
Shelving Freq 31 2 10

106
 REVERB
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Shelving Gain 89 2 11
Highpass Filter 90 2 12
Lowpass Filter 91 2 13
Mix Volume 92 2 15

CHORUS
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Depth 16 2 0
Speed 9 2 1
High Pass Filter 70 2 2
Width 71 2 3
Delay Send 12 2 4
Reverb Send 13 2 5
Mix Volume 14 2 6

B.10 MIXER PARAMETERS

COMPRESSOR
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Threshold 111 2 16
Attack Time 112 2 17
Release Time 113 2 18
Makeup Gain 114 2 19
Pattern Volume 119 2 24
Ratio 115 2 20
Sidechain Source 116 2 21
Sidechain Filter 117 2 22
Dry/Wet Mix 118 2 23

EXTERNAL IN MIXER
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Dual Mono 82 2 40
Input L Level 72 2 30
Input L Pan 74 2 32
Input R Level 72 2 31
Input R Pan 75 2 33
Input L Delay Send 78 2 36
Input R Delay Send 79 2 35
Input L Reverb Send 80 2 38
Input R Reverb Send 81 2 39
Input L Chorus Send 76 2 34
Input R Chorus Send 77 2 35
Input L R Level 72 2 30
Input L R Balance 74 2 32
Input L R Delay Send 78 2 36
 EXTERNAL IN MIXER
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Input L R Reverb Send 80 2 38
Input L R Chorus Send 76 2 34

B.8 VAL PARAMETERS

These are the CC VAL parameters on the [FLTR] and [AMP] pages for MIDI tracks.

CC VAL
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
VAL1 70 1 16
VAL2 71 1 17
VAL3 72 1 18
VAL4 73 1 19
VAL5 74 1 20
VAL6 75 1 21
VAL7 76 1 22
VAL8 77 1 23
VAL9 1 60
VAL10 1 61
VAL11 1 62
VAL12 1 63
VAL13 1 64
VAL14 1 65
VAL15 1 66
VAL16 1 67

B.9 MISC PARAMETERS

MISC
Parameter CC MSB CC LSB NRPN MSB NRPN LSB
Pattern Mute 110 1 104
Sample Slot 9 1 8
Sample Bank 24 1 9
Master Overdrive 17 2 37
APPENDIX C: LFO MODULATION DESTINATIONS
The following are the modulation destinations for the Digitakt II’s LFOs:

AUDIO TRACKS FX: Delay Send

META: None FX: Reverb Send

FX: Chorus Send
LFO1: Speed (Only available for LFO2/3)
FX: Bit Reduction
LFO1: Multiplier (Only available for LFO2/3)
FX: SRR
LFO1: Fade In/Out (Only available for LFO2/3)
FX: SRR Routing
LFO1: Waveform (Only available for LFO2/3)
FX: Overdrive
LFO1: Start Phase (Only available for LFO2/3)
LFO1: Trig Mode (Only available for LFO2/3)
MIDI TRACKS
LFO1: Depth (Only available for LFO2/3)
LFO2: Speed (Only available for LFO3) META: None
LFO2: Multiplier (Only available for LFO3) LFO1: Speed (Only available for LFO2)
LFO2: Fade In/Out (Only available for LFO3) LFO1: Multiplier (Only available for LFO2)
LFO2: Waveform (Only available for LFO3) LFO1: Fade In/Out (Only available for LFO2)
LFO2: Start Phase (Only available for LFO3) LFO1: Waveform (Only available for LFO2)
LFO2: Trig Mode (Only available for LFO3) LFO1: Start Phase (Only available for LFO2)
LFO2: Depth (Only available for LFO3) LFO1: Trig Mode (Only available for LFO2)
SRC: Tune LFO1: Depth (Only available for LFO2)
SRC: Play Mode SRC: Pitch Bend
SRC: Sample Slot SRC: Aftertouch
SRC: Data entry knob E (machine dependent) SRC: Mod Wheel
SRC: Data entry knob F (machine dependent) SRC: Breath Controller
SRC: Data entry knob G (machine dependent)
CC: CC1–16 Values
SRC: Level

FILTER: (machine dependent parameters)

FILTER: Envelope Depth
FILTER: Env. Delay
FILTER: Attack Time
FILTER: Decay Time
FILTER: Sustain Level
FILTER: Release Time
FILTER: Env. Reset
FILTER: Base
FILTER: Width
FILTER: Key Tracking

AMP: Attack Time

AMP: Hold Time
AMP: Decay Time
AMP: Sustain Level
AMP: Release Time
AMP: Pan
AMP: Volume
APPENDIX D: KEYBOARD SCALES
The following are the selectable scales for the KEYBOARD mode. For more information, please see: "8.5.1
KEYBOARD MODE" on page 25,

• CHROMATIC • HIRAJOSHI
• IONIAN (MAJOR) • PELOG
• DORIAN • PHRYGIAN DOMINANT
• PHRYGIAN • WHOLE-HALF DIMINISHED
• LYDIAN • HALF-WHOLE DIMINISHED
• MIXOLYDIAN • SPANISH
• AEOLIAN (MINOR) • MAJOR LOCRIAN
• LOCRIAN • SUPER LOCRIAN
• PENTATONIC MINOR • DORIAN b2
• PENTATONIC MAJOR • LYDIAN AUGMENTED
• MELODIC MINOR • LYDIAN DOMINANT
• HARMONIC MINOR • DOUBLE HARMONIC MAJOR
• WHOLE TONE • LYDIAN #2 #6
• BLUES • ULTRAPHRYGIAN
• COMBO MINOR • HUNGARIAN MINOR
• PERSIAN • ORIENTAL
• IWATO • IONIAN #2 #5
• IN-SEN • LOCRIAN bb3 bb7
INDEX
+DRIVE 16, 29 KEY COMBINATIONS 86
KITS 29
A
AUDIO ROUTING L
Global 79 LED INTENSITY 81
AUDIO TRACK PARAMETERS 53 LEGATO 38
Amp 55 LFO 57, 58, 59
Filter 55 Modulation destinations 109
LFO 57 LINEAR LOCKS 96
Source 55
Trig 53, 54 M
MACHINES 17, 91
B Assigning to track 91
BACKUP 20 Oneshot 91, 100
BREATH CONTROLLER 39 Repitch 94
Slice 95
C Werp 92
CHAINS 40 METRONOME 23
CHORUS 63 MICRO TIMING 45
CHROMATIC MODE 25 MIDI CC & NRPN 104
CLASS COMPLIANT 20 MIDI CONFIG 75, 76
COMPRESSOR 63 MIDI LEARN 99
CONDITIONAL LOCKS 48 MIDI TRACKS 17
CONNECTORS 14 Parameters 97
CONTROL ALL 19 MIXER 65, 66
Configuration 37 MUTE MODE 26
COPY, PASTE AND CLEAR 49
CREDITS AND CONTACT INFORMATION 90 N
NAMING SCREEN 19
D
DATA STRUCTURE 16 O
Patterns 16 OS UPGRADE 82
Project 16
Samples 17 P
Sounds 16 PANEL LAYOUT 12
DELAY 61 PARAMETER LOCKS 47
PATTERNS
E Grid recording mode 42
EARLY STARTUP MENU 83 Live recording mode 42
EUCLIDEAN SEQUENCER 44 Parameter locks 47
Pattern control 40
F Selecting a pattern 40
FACTORY RESET 83 Trig modes 27
FILL MODE 49 Trig Types 41
FILTER 55 PATTERNS AND SOUNDS
FX PARAMETERS 61 Sound Browser 36
Chorus 63 PATTERNS, KITS, SOUNDS, AND SAMPLES 29
Delay 61 Assigning a sample 36
Reverb 62 Editing a sound 35
Playing a sound 35
G Sound Manager 30
GRID RECORDING MODE 42 PERFORM KIT MODE 52
PORTAMENTO 37
K On/Off 55
KEYBOARD SCALES 110 PRESET BROWSER 30
INDEX

PRESET LOCKS 47 Scale Menu 45

PRESET MANAGER 30 Selecting a pattern 40
PRESETS 29 Trig menu 44
Audio track parameters 53 Trig parameters page 45
Editing a preset 35 SEQUENCER RECORDING MODES
Playing a preset 35 Grid recording mode 42
Purging 35 Live recording mode 42
Saving a preset 35 Step recording mode 43
PROJECT MANAGER 74 SETTINGS 74
PROJECTS 74 MIDI config 75, 76
Load 74 Project 74
Project Manager 74 System 80, 81
Save 74 SETUP EXAMPLES 20, 84
Write protection 74 Controlling a synthesizer using the MIDI tracks 85
PURGE (REMOVE UNUSED) Digitakt I with a monophonic bass machine 84
All 74 Sampling from a smart phone 84
Kits 35 SONG MODE 50, 52
Samples 73 SOUND ARCHITECTURE 15
SOUND BROWSER 36
Q SOUND MENU 36
QUANTIZATION 45 SOUND SETUP MENU 37
QUICK SCROLLING 19 Pitch bend 38
QUICK START 22 SWING 23
SYSEX DUMP 78
R
RANDOM LOCKS 96 T
RETRIGS 45, 54 TECHNICAL INFORMATION 89
REVERB 62 TEMPO 22
TEMPORARY SAVE AND RELOAD 49
S TRIG MENU 44
SAFETY AND MAINTENANCE 3 TRIG MODE 27
SAMPLES TRIG PARAMETERS PAGE 45
Create a new destination directory 73 TRIGS 41
Loading 71 Lock trigs 41
Moving 72 Note trigs 41
Removing unused 73 Parameter locks 47
Renaming 72 Sound lock 47
Replacing 72
Transferring from computer 73
Unloading 72
SAMPLING 68
Assigning a sample from +Drive 69
Sample playback 70
Sampling audio 23, 69
SCALE 26
SCALES 110
SCALE SETUP
Length per pattern mode 45
Length per track mode 46
SCREEN SAVER 18
SEQUENCER 40
Conditional locks 48
Editing a pattern 41
Parameter locks 47
Pattern control 40
Retrig Menu 45

112
INDEX

113
DOC10093enA