Elektron Digitakt User Manual

Digitakt

Beat making powerhouse

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 encouraged 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.

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 Electromagnetic 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 document. 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 surface 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 producing 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.

SOUND PEAKS

•A brief signal will be sent to all audio outputs of the Digitakt when the Test mode on the STARTUP Menu is activated. Remember to turn down the volume on all speakers and headphones before activating Test mode.

•During calibration there will be loud and unpleasant sounds on all audio outputs. Disconnect these during calibration.

SAFETY INSTRUCTIONS FOR THE POWER ADAPTER ELEKTRON PSU-3b

•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, wait for at least 30 seconds after turning it off before turning it on again.

TABLE OF CONTENTS

TABLE OF CONTENTS

1. INTRODUCTION . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . .	.8
1.1 CONVENTIONS IN THIS MANUAL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		8
2. THE DIGITAKT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		9
3. PANEL LAYOUT AND CONNECTORS. . . . . . . . . . . .	. . . . . . . . . . 10
3.1 FRONT PANEL . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	10
3.2 REAR CONNECTORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . .	. 12
3.3 SETTING UP AND STARTING THE DIGITAKT. . . . . . . . . . . . .	. . . . . . . . . . .	. 12
4. DIGITAKT SOUND ARCHITECTURE. . . . . . . . . . . . .	. . . . . . . . .	.13
4.1 AUDIO VOICES. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	13
4.2 EFFECTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 13
5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE. . . . . .	. . . . . . . . .	.14
5.1 +DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 14
5.2 DATA STRUCTURE. . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	14
5.2.1 PROJECT. . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	14
5.2.2 PATTERNS. . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	14
5.2.3 SOUNDS. . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	14
5.2.4 SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	. 14
5.3 ABOUT THE TRACKS . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 15
5.3.1 THE AUDIO TRACKS. . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	. 15
5.3.2 THE MIDI TRACKS.. . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	15
5.3.3 EDITING THE TRACKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		15
6. THE USER INTERFACE . . . . . . . . . . . . . . . . . . .	. . . . . . . . .	.16
6.1 SCREEN NAVIGATION. . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 16
6.2 PARAMETER EDITING . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	16
6.2.1 PARAMETER VALUE JUMP. . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	. 16
6.2.2 CONTROL ALL. . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	16
6.2.3 [FUNC] KEY PRESS COMBINATIONS . . . . . . . . . . . . . . .	. . . . . . . . . . . .	17
6.3 QUICK SCROLLING. . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 17
6.4 COPY, CLEAR, AND PASTE. . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	17
6.5 THE NAMING SCREEN. . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	17
6.5.1 POP-UP NAMING.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		17
6.6 OVERBRIDGE.. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	18
7. QUICK START . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . .	19
7.1 PLAYING THE FACTORY PRESETS. . . . . . . . . . . . . . . . . .	. . . . . . . . . . . . 19
7.1.1 USING CHROMATIC MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		19
7.1.2 USING MUTE MODE.. . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	19
7.1.3 TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	19
7.1.4 EDITING PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		20
7.2 SAMPLING FROM THE EXTERNAL INPUTS. . . . . . . . . . . . . . . . . . . . . . . .	.	20
8. DIGITAKT CONTROLS. . . . . . . . . . . . . . . . . . .	. . . . . . . . . .	21
8.1 TRIG KEYS. . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	21
8.2 ROTARY ENCODERS. . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	21
8.3 KEY BEHAVIOR. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 21
8.4 MIDI NOTES. . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	21
8.5 MODES.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	21
8.5.1 CHROMATIC MODE. . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	21

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8.5.2 MUTE MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

9. PATTERNS, KITS, SOUNDS, AND SAMPLES. . . . . . . . . . . . . . . . . .	23
9.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL. . . . . . . . . . . . . . . . . . .	. 23
9.1.1 ADDING SOUNDS TO THE SOUND POOL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 23
9.2 SOUND BROWSER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	24
9.3 SOUND MANAGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	24
9.4 PLAYING A SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 26
9.5 EDITING A SOUND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	26
9.6 SAVING A SOUND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	26
9.7 ASSIGNING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	27
9.7.1 ASSIGNING A SAMPLE USING THE QUICK ASSIGN METHOD. . . . . . . . . . . . . . .	27

10. THE SEQUENCER . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. .	28
10.1 BASIC PATTERN OPERATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 28
10.1.1 SELECTING BANK AND PATTERN. . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 28
10.1.2 PATTERN CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 28
10.1.3 PATTERN TEMPO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . .28
10.2 EDITING A PATTERN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 28
10.2.1 TRIG TYPES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 29
10.2.2 GRID RECORDING MODE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
10.2.3 LIVE RECORDING MODE . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 29
10.3 MICRO TIMING MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	30
10.4 RETRIG MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 30
10.5 PATTERN MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 31
10.5.1 RENAME.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	31
10.5.2 CLEAR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	. 31
10.5.3 SAVE TO PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	. 31
10.5.4 RELOAD FROM PROJ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		31
10.5.5 IMPORT/EXPORT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		31
10.6 TRIG PARAMETERS PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		32
10.7 QUANTIZE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	32
10.8 METRONOME MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 32
10.9 SCALE MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	32
10.9.1 LENGTH PER PATTERN MODE . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 33
10.9.2 LENGTH PER TRACK MODE. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 33
10.10 SEQUENCER FEATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	34
10.10.1 PARAMETER LOCKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . .34
10.10.2 SOUND LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 34
10.10.3 CONDITIONAL LOCKS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . .34
10.10.4 FILL MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 35
10.10.5 SWING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 35
10.10.6 COPY, PASTE AND CLEAR OPERATIONS. . . . . . . . . . . . . . . . . . . . .	. . . .36
10.10.7 TEMPORARY SAVE AND RELOAD PATTERN COMMANDS. . . . . . . . . . . . . . . .		36
10.11 CHAINS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 36

11. AUDIO TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . .		. . . 38
11.1 EDITING THE AUDIO TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . .		38
11.2 TRIG PARAMETERS PAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . .		. . . . 38
11.3	SRC PAGE 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 38
11.4 SRC PAGE 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		. . . . 40
11.5	FLTR PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 40
11.6	AMP PAGE .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . 41

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TABLE OF CONTENTS

11.7 LFO PAGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

12. MIDI TRACK PARAMETERS. . . . . . . . . . . . . . . . . . . . . . . . . . 45

12.1 EDITING THE MIDI TRACK PARAMETERS .		. . . . . . . . . . . . . . . . . . . . . . . .	. 45
12.2 TRIG PARAMETERS PAGE.. . . . . . . .		. . . . . . . . . . . . . . . . . . . . . . . .	45
12.3	SRC PAGE. . . . . . . . . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . . .	. 45
12.4 FLTR PAGE (CC VALUE). . . . . . . . .		. . . . . . . . . . . . . . . . . . . . . . . .	. 46
12.5	AMP PAGE (CC SELECT). . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . . .	. 46
12.6	LFO PAGE . . . . . . . . . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . . .	. 47

13. FX PARAMETERS. . . . . . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	49
13.1 EDITING THE FX PARAMETERS. .	. . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 49
13.2 DELAY. . . . . . . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 49
13.3 REVERB. . . . . . . . . . . . .	. . . . . . . . . . . . . . . . . . . . . . . . . . . .	. 50
13.4 MASTER PAGE 1 COMPRESSOR. .	. . . . . . . . . . . . . . . . . . . . . . . . . . . .	51
13.5 MASTER PAGE 2 MIXER. . . . . .	. . . . . . . . . . . . . . . . . . . . . . . . . . . .	52

14. SAMPLING. . . . . . . . . . . . . . . . . . . . .	. . .		. .		. .		. . . . . .		53
14.1 SAMPLING MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . .	. .	. .	. .	. .	. . .	. . . . . . . . . . . . . .		. 53
14.1.1 REC. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	.	.	.	.	. .	. . . . . . .		. 53
14.1.2 ARM. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	.	. .		. .		. . . . . . . .		53
14.1.3 THR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . .	. .	. .	. .	. .	. . .	. . . . . . . . . . . . . .	.	. 53
14.1.4 SRC . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	.	.	.	.	.	. . . . . . .	.	53
14.1.5 MON.. . . . . . . . . . . . . . . . . . . . . . . . . .	. . .	.	.	.	.	. .	. . . . . . .		53
14.2 SAMPLING AUDIO . . . . . . . . . . . . . . . . . . . . .	. . .	.	.	.	.	.	. . . . . . .		. 53
14.3 DIRECT SAMPLING . . . . . . . . . . . . . . . . . . . .	. . .	.	.	.	.	. .	. . . . . . . 54
14.4 ASSIGNING A SAMPLE TO A TRACK FROM THE +DRIVE . .	. . .	.	.	.	.	. .	. . . . . . . 54
14.5 SAMPLE PLAYBACK. . . . . . . . . . . . . . . . . . . .	. . .	.	.	.	.	.	. . . . . . .		. 54

15. SETTINGS MENU . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . .		56
15.1 PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		56
15.1.1 LOAD PROJECT . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		. 56
15.1.2 SAVE PROJECT AS.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			56
15.1.3 MANAGE PROJECTS. . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 56
15.2 SAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			56
15.2.1 LOADING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		57
15.2.2 UNLOADING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			58
15.2.3 REPLACING A SAMPLE. . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		. 58
15.2.4 RENAMING A SAMPLE.. . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		58
15.2.5 MOVING A SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			58
15.2.6 TRANSFERRING SAMPLES FROM A COMPUTER TO DIGITAKT. .	. . . . . . . . . . . .		59
15.2.7 CREATING A NEW DESTINATION DIRECTORY. . . . . . . . . .	. . . . . . . . . . . .		. 59
15.2.8 TRANSFERRING SAMPLES FROM DIGITAKT TO A COMPUTER. .	. . . . . . . . . . . .		59
15.3 MIDI CONFIG . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		60
15.3.1 SYNC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .	.60
15.3.2 PORT CONFIG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			60
15.3.3 CHANNELS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			61
15.4 SYSEX DUMP. . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .	. 62
15.4.1 SYSEX SEND.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .			63
15.4.2 SYSEX RECEIVE. . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		63
15.5 SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . .		. 63
15.5.1 USB CONFIG.. . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		64
15.5.2 OS UPGRADE . . . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		64
15.5.3 FORMAT +DRIVE . . . . . . . . . . . . . . . . . . . . . . . .	. . . . . . . . . . . .		.64

6

TABLE OF CONTENTS

15.5.4 STORAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

16. STARTUP MENU. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		66
16.1 TEST MODE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	.	66
16.2 EMPTY RESET. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		. 66
16.3 FACTORY RESET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	.	66
16.4 OS UPGRADE.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .		66
16.5 EXIT.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .	.	66

17. SETUP EXAMPLES . . . . . . . . . . . . . . . . . .	. . . . . .	. . . . . . 67
17.1 DIGITAKT WITH A MONOPHONIC BASS MACHINE. . . . . . .	. . . . . . . .	. . . . . . . 67
17.2 SAMPLING FROM A SMART PHONE . . . . . . . . . . . . .	. . . . . . . .	. . . . . . .	67
17.3 CONTROLLING A SYNTHESIZER USING THE MIDI TRACKS . .	. . . . . . . .	. . . . . .	. 68

18. USEFUL KEY COMBINATIONS (QUICK KEYS) . . . . . . . . . . . . . . . . . 69 19. TECHNICAL INFORMATION . . . . . . . . . . . . . . . . . . . . . . . . . 71 20. CREDITS AND CONTACT INFORMATION . . . . . . . . . . . . . . . . . . . 71 APPENDIX A: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

A.1 TRACK PARAMETERS .	. . . . . . . . . .	.	.	. . . . . . . . . . . . . . . .	. . . . . .	72
A.2 TRIG PARAMETERS . .	. . . . . . . . . .	.	.	. . . . . . . . . . . . . . . .	. . . . . . 72
A.3 SOURCE PARAMETERS	. . . . . . . . . . . . . . . . . . .	. .	. .	. . . . . . . . . . .		72
A.4 FILTER PARAMETERS.	. . . . . . . . . .	.	.	. . . . . . . . . . . . . . . .	. . . . . . 72
A.5 AMP PARAMETERS . . . .	. . . . . . . . . . . . . . . . .	.	. .	. . . . . . . . . . . .		72
A.6 LFO PARAMETERS. . .	. . . . . . . . . .	.	.	. . . . . . . . . . . . . . . .	. . . . . . 73
A.7 FX PARAMETERS.. . .	. . . . . . . . . .	.	.	. . . . . . . . . . . . . . . .	. . . . . . 73
A.8 VAL PARAMETERS . . .	. . . . . . . . . .	.	.	. . . . . . . . . . . . . . . .	. . . . . . 74
INDEX. . . . . . . . . .	. . . . . . . .	.	.	. . . . . . . . . . . . .	. . . . .	75

7

1. INTRODUCTION

1. INTRODUCTION

Thank you for purchasing Digitakt. The Digitakt is a compact drum machine from Elektron. It contains all the necessary tools to make people move to the beat. A digital and highly flexible sound engine, sampling capability, a live-friendly sequencer, the means to control external MIDI gear, and Overbridge support. To get the most out of your machine, 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 Chromatic LED are written like this: <CHROMATIC>.

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.

8

2. THE DIGITAKT

2. THE DIGITAKT

When we started thinking about the product that was to become the Digitakt, we began by asking ourselves: what are the ideal features and tools required to quickly make a really good sounding beat? How to define the bare essentials? But not only that. Certain products possess an almost sparkling allure, and they give more than they take. You just want to use them. Why do they evoke such a feeling? And thus, with these questions in mind, the work began.

Fast forward. It’s May 2017 and Digitakt will start shipping in about a week. The Elektron HQ is bristling with activity. Factory patterns are being made, tweaks to the Digitakt OS implemented, content for the Elektron website created. Seeing Digitakt in almost complete form is a sight to behold. Now, switch it on. Hopefully you will experience the same thing as we do.

The sound.

Digitakt sounds very good. Audio material handled by the sample engine appears big, full and almost three-dimensional. Sample everything you can. Your studio gear, random clips from YouTube, everyday life. Process and sequence. Digitakt is a sound exploration tool.

The workflow.

The streamlined approach makes beat making a focused activity. Nothing will distract you. This clarity is one of the core features of Digitakt, and gives it a unique character. Being drawn into the Digitakt universe is a very enjoyable experience.

The totality.

Easy sampling, sequencing of both audio and MIDI, the flexible sample engine, and Overbridge support form a very versatile product. The provided feature set allows for depth and adaptability, and also bestows Digitakt with a certain free-spiritedness. Something, somehow, feels alive.

Digitakt is here. And we think we have found the answers to the questions we once asked ourselves.

Sincerely,

The Elektron Team

Digitakt User Manual. This manual is copyright © 2018 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 international law. All other brand or product names are trademarks or registered trademarks of their respective holders.

This manual for Digitakt OS version 1.10 was last updated August 6, 2018.

9

3. PANEL LAYOUT AND CONNECTORS
3. PANEL LAYOUT AND CONNECTORS
3.1 FRONT PANEL
1	2	3	4	5	6	7	8	9
21
20								10
19								11
18
17								12
16
15
								13
14

1.MASTER VOLUME sets the volume for the main outputs and the headphones output.

2.Screen.

3.[PATTERN MENU]opens the PATTERN menu, where pattern management is located. The secondary function accesses the Import/Export menu.

4.[GLOBAL SETTINGS] contains the management of projects, MIDI configuration, and the System settings. The secondary function saves the current project.

5.[SAMPLING] opens the SAMPLING menu, where you perform the sampling. The secondary function starts Direct Sampling.

6.[TEMPO] opens the TEMPO menu, where you can adjust the global/pattern tempo and also adjust the swing. The secondary function makes it possible to tap the tempo.

7.[NO] key. Used for exiting an active menu, backing one step and negating. The secondary function is to temporary reload the active pattern.

8.[YES] key. Used for entering sub-menus, selecting and confirming. The secondary function is to temporary save the active pattern.

9.DATA ENTRY knobs A-H. Used for setting parameter values. Press and turn the knobs to change values in larger increments.

10.[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 parameters. The secondary function accesses the QUANTIZE menu.

•[SRC] takes you to the SOURCE page that deals with sample playback on audio tracks. For MIDI tracks this page has parameters such as CHANNEL, PROGRAM, and AFTERTOUCH. The secondary function accesses SAMPLE SELECT.

•[FLTR] accesses the FILTER page. Here are the parameters for the multimode filter for the audio tracks. On MIDI tracks you find the CC value settings here. The secondary function accesses the DELAY page.

10

3. PANEL LAYOUT AND CONNECTORS

•[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 select settings here. The secondary function accesses the REVERB page.

•[LFO] accesses the LFO parameters for the active track. The secondary function accesses the MASTER page.

11.The [ARROW] keys. Used for navigation and for setting some parameter values. In menus, they are called [UP], [DOWN], [LEFT], and [RIGHT].

12.[PAGE] selects the active pattern page, if the pattern is made up of more than 16 steps. 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. The secondary function accesses the SCALE menu. This key also activates Fill Mode (when GRID RECORDING mode is not active).

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, and pattern, in combination with the [TRK], [PTN], and [BANK] keys. The [TRIG] keys are also used as a keyboard in CHROMATIC 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 keys indicates parameter locks, in GRID RECORDING mode. When a pattern is playing, or when LIVE RECORDING is enabled, a light “runs” along the 16 steps of the sequencer across all (up to four) pages at the set tempo.

14.[BANK] selects bank A–H in combination with the [TRIG 9–16] keys. The secondary function accesses the MUTE Mode.

15.[PTN] selects pattern 1–16 in combination with the [TRIG 1–16] keys. The secondary function opens the METRONOME menu.

16.[STOP] stops playback. The secondary function is the paste operation.

17.[PLAY] starts the sequencer playback. The secondary function is the clear operation.

18.[RECORD] key. Activates/deactivates GRID RECORDING mode. Keep [RECORD] pressed, then press [PLAY], to activate LIVE RECORDING mode. Activate/deactivate QUANTIZATION of LIVE RECORDING by keeping [RECORD] pressed, then tapping [PLAY] twice. The secondary function is the copy operation.

19.[TRK] key. Press [TRK] + one of the [TRIG] keys to select a track for editing. The secondary function accesses the CHROMATIC mode.

20.[FUNC] key. Press, hold and press another key to access the secondary function of that key. The secondary functions are written in orange on the Digitakt front panel.

21.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 SOUND BROWSER.

11

3. PANEL LAYOUT AND CONNECTORS

3.2 REAR CONNECTORS

1

2

3

4

5

6

7

8

9

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

2.DC In, Input for power supply. Use the included PSU-3b power adapter, connected to a power outlet.

3.USB, For connecting the unit to a computer. For MIDI-control or Overbridge use. Use the included A to B USB 2.0 connector 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.INPUT L/R, Audio inputs. Use a 1/4” mono phone plug (unbalanced connection).

8.OUTPUT L/R, Main audio outputs. Use either 1/4” mono phone plug (unbalanced connection) or 1/4” (Tip/Ring/Sleeve) phone plug (balanced connection).

9.HEADPHONES, Audio output for stereo headphones. Use 1/4” (Tip/Ring/Sleeve) phone plug.

3.3 SETTING UP AND STARTING THE DIGITAKT

Make sure you place the Digitakt 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 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.

2.Connect OUTPUT L/R from the Digitakt to your mixer or amplifier.

3.To control the Digitakt from a computer, connect a USB cable between the computer and the USB connector of the Digitakt.

4.If you want to use MIDI to control the Digitakt, connect the MIDI OUT port of the device you wish to send data from to the MIDI IN port of the Digitakt. 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 to the MIDI IN port of the of the device you want to control if you want to use Digitakt to control other devices using MIDI.

5.If you want to sample audio from external sources, connect the audio source to INPUT L/R or via USB.

6.Switch on all units. Switch on the Digitakt by pressing the Power switch located at the back of the unit.

12

4. DIGITAKT SOUND ARCHITECTURE

4. DIGITAKT SOUND ARCHITECTURE

The illustrations below show the Digitakt sound architecture, with its eight audio voices, two send effects (delay and reverb), and master effect (compressor).

4.1 AUDIO VOICES

FILTER

ENVELOPE

SAMPLE

OVER-

MULTIMODE

PAN

PLAYBACK

AMP

ENGINE

DRIVE

FILTER

AMP

DELAY

REVERB

ENVELOPE

SEND

SEND

TO MIXER

4.2 EFFECTS

FROM EFFECT SENDS

TO MIXER

DELAY

REVERB

SEND

REVERB

TO MIXER OR OUTPUTS L/R

DELAY RETURNS

FROM AUDIO VOICES

MIXER

COMPRESSOR

OUTPUTS L/R

PRE COMP

POST COMP

REVERB

RETURNS

13

5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE

5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE

The image below outlines the data structure of the Digitakt.

+DRIVE

Projects, Samples, Sounds

PROJECT

127 SAMPLES		128 PATTERNS			SOUND POOL
					128 Sounds
8 AUDIO TRACKS			8 MIDI TRACKS
	(per pattern)			(per pattern)

5.1 +DRIVE

The +Drive is a non-volatile storage. It keeps up to 128 projects stored internally, and it also holds all saved Sounds. The +Drive also contains the sample bank. All projects have access to these samples.

5.2DATA STRUCTURE

5.2.1PROJECT

A project contains 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. From here it is possible to edit the patterns and Sounds of the project. Every time the Digitakt is switched on, it boots to the active working state, the active project. Projects are saved, loaded and managed in the SETTINGS menu. For more information, please see “9. PATTERNS, KITS, SOUNDS, AND SAMPLES” on page 23.

5.2.2 PATTERNS

The patterns are the primary data container for the Digitakt. 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 eight Sounds (one for each audio track), sequencer data like trigs and parameter locks. It also contains the settings on the TRIG page and BPM, length, swing and time signature settings. The pattern also contains all the parameter settings for the eight MIDI tracks. For more information, please see “10. THE SEQUENCER” on page 28.

5.2.3 SOUNDS

A Sound is a sample, plus all the audio track settings in the SRC, FLTR, AMP, and LFO PARAMETER pages. Sounds are stored in the +Drive Sound library. The +Drive Sound library holds up to 2048 Sounds. You can use the SOUND MANAGER to manage Sounds. For more information, please see “9.3 SOUND MANAGER” on page 24, “9. PATTERNS, KITS, SOUNDS, AND SAMPLES” on page 23, and “11.

AUDIO TRACK PARAMETERS” on page 38.

When a Sound is imported to a pattern, it becomes an independent copy of the Sound on the +Drive and is not linked to the original Sound on the +Drive. Instead, it fully becomes a part of the pattern.

5.2.4 SAMPLES

You can load up to 64 MB (about 11 minutes) of samples in a project, using a maximum of 127 sample slots. Samples are stored in the +Drive Sample bank. Additional samples can be transferred to the Digitakt from a computer with the Elektron Transfer software. You also have the possibility to sample straight into the Digitakt.

For more information, please see “14. SAMPLING” on page 53.

14

5. OVERVIEW OF THE DIGITAKT DATA STRUCTURE

5.3ABOUT THE TRACKS

5.3.1THE AUDIO TRACKS

The Digitakt has eight audio tracks. Each audio track contains one sample, and the parameter settings in the PARAMETER pages TRIG, SRC, FLTR, AMP, and LFO.

To select an audio track for editing, press and hold [TRK] key and then press one of the [TRIG 1–8] keys.

5.3.2 THE MIDI TRACKS

The Digitakt has eight dedicated MIDI tracks. 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 eight freely assignable MIDI control change parameters (MIDI CCs). For more information, please see “12. MIDI TRACK PARAMETERS” on page 45. 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 regarding 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 select a MIDI track for editing, press and hold [TRK] key and then press one of the [TRIG 9–16] keys.

5.3.3 EDITING THE TRACKS

The five [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 parameters.

•The SRC page hosts the parameters that deal with sample selection and editing of samples on audio tracks. For MIDI tracks this page has parameters such as CHANNEL, PROGRAM, and AFTERTOUCH.

•On the FLTR page, you find parameters for the multimode filter and its filter envelope for the audio tracks. On MIDI tracks you find the CC value settings here.

•The AMP page for audio tracks hosts parameters for the amplitude envelope and effect sends. On MIDI tracks you find the CC select settings here.

•Finally, the LFO 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 parameters on that page. For more information, please see “11. AUDIO TRACK PARAMETERS” on page 38, and “12. MIDI TRACK PARAMETERS” on page 45.

15

6. THE USER INTERFACE

6. THE USER INTERFACE

The screen shows all the information needed for real-time interaction and editing on the Digitakt. 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

7

6

4

5

1.The current bank and pattern.

2.The current pattern name.

3.The current tempo.

4.Eight track parameters. They show what the DATA ENTRY knobs control and their current parameter values.

5.The main volume setting of the active track. Use the LEVEL/DATA knob to change the volume setting.

6.The current active track.

7.Track type. Audio (SMP) track or MIDI (MID) track.

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 parameters 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)”.

•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.

6.2.1 PARAMETER VALUE JUMP

Pressing [FUNC] while editing certain parameters will make the parameter values jump to appropriate positions. The time of the Delay, for example, will jump between 16, 32, 64 and 128 and the sample tuning will jump whole octaves.

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.

16

6. THE USER INTERFACE

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. For some key combinations, it is also possible to access a sub-menu by pressing and holding [FUNC] + second key for a second.

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 is undone by repeating the key press combination. Please see the different sections in the manual for more information on when these commands are available.

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, Sounds, 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 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.

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.

17

6. THE USER INTERFACE

6.6 OVERBRIDGE

The Overbridge software enables a tight integration between the Digitakt and a computer DAW software.

When using Overbridge, the user interface for the Digitakt 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/

18

7. QUICK START

7. QUICK START

This quick start will guide you through some of the basic operations to start using the Digitakt right away. First, connect it as described in section “3.3 SETTING UP AND STARTING THE DIGITAKT” on page 12.

7.1 PLAYING THE FACTORY PRESETS

You can find a number of preset patterns, Sounds, and samples in the Digitakt. Follow the instructions below to get started exploring your new instrument.

1.Press [BANK] and then press [TRIG 9] key to select bank A. The screen reads “BANK A : SELECT PTN”.

2.Press [TRIG 1] key to select the first pattern of bank A.

3.Press [PLAY] to listen to pattern A01.

4.Press [PTN] and then press [TRIG 2] key to select pattern A02. It will start once pattern A01 has reached its end. Select pattern A03 by pressing [PTN] and then press [TRIG 3] key, and so on.

5.Press [STOP] to stop playback.

7.1.1 USING CHROMATIC MODE

You can use the [TRIG] keys to play any audio track sample chromatically.

1.Select the audio track to play chromatically by pressing [TRK] + one of the [TRIG 1–8] keys.

2.Press [FUNC] + [TRK] to enter CHROMATIC 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 active track Sound will be pitched differently for each of the playable keys. Press the [ARROW] keys [UP] or [DOWN] to transpose the virtual keyboard up or down one octave.

For more information, please see “8.5.1 CHROMATIC MODE” on page 21.

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

7.1.2 USING MUTE MODE

You can mute any of the sequencer tracks in this mode. Unlike the CHROMATIC 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] + [BANK] 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 “8.5.2 MUTE MODE” on page 22.

7.1.3 TEMPO

To change the BPM setting, open the TEMPO menu by pressing the [TEMPO] key. Use the LEVEL/DATA knob to change tempo. Pressing the knob while turning it changes the tempo eight BPM at a time. The [ARROW] keys [UP] or [DOWN] change the tempo in fractional steps. Note that you can chose between a global tempo or using a separate tempo for every pattern. Press [FUNC] + [YES] to switch between GLOBAL and PATTERN tempo mode. On the main interface screen, you can also press and hold [ARROW] keys [LEFT] or [RIGHT] to nudge the tempo 10% up or down temporarily. Release the key to revert to the original tempo.

To tap a tempo setting, hold the [FUNCTION] 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.

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7. QUICK START

Nudging the tempo is very handy when manually syncing Digitakt to a turntable or an external sound source. Note that you do not need to be in the TEMPO menu to perform tempo nudging.

7.1.4 EDITING PARAMETERS

Each track has five PARAMETER pages. Press [PARAMETER] keys TRIG, SRC, FLTR, AMP, and LFO 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 1-8 to select one of the eight audio tracks.

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 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 itself.

1.Connect your audio source to the INPUT L/R inputs of the Digitakt.

2.Press [SAMPLING] to access the SAMPLING menu and then use DATA ENTRY knob G to set SOURCE to EXT 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 YES to monitor the incoming audio through the Digitakt.

4.Again, with an eye on the audio input meter and use DATA ENTRY knob F to set THRESHOLD just above the indicated background noise of the audio source (when it is not playing).

5.Press [YES] to arm the sampler and then play the sound source. When the input audio exceeds the set THRESHOLD level, sampling will start.

6.Press [YES] when you want to finish the sampling.

7.Use the DATA ENTRY knobs A and C to set the parameters TRIM START and TRIM END to trim the sample to the desired length. You can use the DATA ENTRY knobs B and D to zoom in and out to make it easier to see where to trim the sample. Press [FUNC] + [YES] to preview the sample.

8.Press [YES] to save the sample.

9.Name the sample and press [YES] again to confirm the save.

10.Press [TRACK 1–8] to select the track to where you want to assign the sample. For more information, please see “14. SAMPLING” on page 53.

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8. DIGITAKT CONTROLS

8. DIGITAKT CONTROLS

8.1 TRIG KEYS

The [TRIG] keys have several uses, including for example, trigging an audio track Sound (track 1–8) from the active pattern. (When sequencer recording is deactivated). They are also used for placing trigs in GRID RECORDING mode. When pressed in combination with the [PTN] and [BANK] keys, they select patterns and banks. 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 MASTER 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 five [PARAMETER] keys have radio button functionality.

The [FUNC], [TRK], [PTN], and [BANK] keys must always be used in combination with other keys.

8.4 MIDI NOTES

Some functions can be triggered by sending MIDI note values from an external MIDI device (a MIDI keyboard or a computer, for example) connected to the Digitakt 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 0–8 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 Sound 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 12–59 (corresponding to notes C1–B4, the second through to fifth octaves in the MIDI range) will trigger the Sound of the active track in any of its 49 chromatic variations (as if played by the [TRIG] keys in CHROMATIC 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. Additionally, MIDI CC and NRPN messages can be sent to control various aspects of the Digitakt. For more information, please see “APPENDIX A: MIDI” on page 72.

8.5 MODES

There are two special modes of operation on the Digitakt: CHROMATIC mode and MUTE mode.

8.5.1 CHROMATIC MODE

Press [FUNC] + [TRK] to enter CHROMATIC mode. In this mode, you can play the Sound of the active audio track (or send MIDI notes if you have an active MIDI track) chromatically. 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 chromatically.

Press the trig keys to change the chromatic note pitch of the Sound. The range from [TRIG 9] key to [TRIG 16] key is one octave. The whole range for audio tracks spans four octaves: middle, 1 up and 2 down. The whole range for MIDI tracks spans eleven octaves. Press the [ARROW] keys [UP] or [DOWN], to transpose the virtual keyboard up or down one octave.

Notes trigged chromatically 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 29.

The active state of CHROMATIC mode (the portion of the chromatic keyboard currently visible on the [TRIG] keys) is not stored per pattern but stays in the state as it was last set.

Press [FUNC] + [TRK] to exit CHROMATIC mode.

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8. DIGITAKT CONTROLS

You can also use an external keyboard to play the active tracks Sound chromatically. Connect the keyboard to the Digitakt and configure the external keyboard and the Digitakt 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 Sound chromatically. You can play the active track’s Sound chromatically even if the Digitakt is not in CHROMATIC mode.

8.5.2 MUTE MODE

You can use MUTE mode to mute any number of the 16 sequencer tracks. Unlike CHROMATIC 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. Unlit keys signify muted tracks. Lit keys signify unmuted tracks.

There are two different versions of MUTE mode on the Digitakt:

•GLOBAL MUTE MODE In GLOBAL MUTE mode, the muted tracks are muted in all patterns, and the trig [TRIG] keys are lit green.

Press [FUNC] + [BANK] to enter GLOBAL MUTE mode. If tracks are muted in GLOBAL MUTE mode, the tracks will flash green when the pattern plays.

Press [FUNC] + [BANK] to exit GLOBAL MUTE mode.

•PATTERN MUTE MODE In PATTERN MUTE mode, the muted tracks are muted only in the active pattern, and the trig [TRIG] keys are lit purple.

Press [FUNC] + double-tap [BANK] to enter PATTERN MUTE mode. If tracks are muted in PATTERN MUTE mode, the tracks will flash purple when the pattern plays.

Press [FUNC] + [BANK] 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.

•You can also use QUICK GLOBAL MUTE to mute and unmute sequencer tracks globally. Press and hold [FUNC] and then press the [TRACK] keys to mute or unmute tracks.

•You can also use QUICK PATTERN MUTE to mute and unmute sequencer tracks in the active pattern. Press and hold [PTN] and then press the [TRACK] keys to mute or unmute tracks..

•Digitakt remembers the last used version of MUTE mode and will access this one first when you press [FUNC] + [BANK].

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9. PATTERNS, KITS, SOUNDS, AND SAMPLES

9. PATTERNS, KITS, SOUNDS, AND SAMPLES

The patterns are the primary data container for the Digitakt. 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 eight Sounds (one for each audio 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 pattern also contains all the parameter settings for the eight MIDI tracks.

A kit is a collection of eight Sounds. A Sound is a sample, plus all the settings in the PARAMETER pages (SRC, FLTR, AMP, and LFO). A Sound can be assigned to one of the eight audio tracks.

Each of the audio tracks can contain one Sound. A Sound that has been imported from the +Drive to a pattern becomes part of the active pattern. Any changes made to a Sound will therefore not affect the stored Sound or kit. It will only affect the Sound in the active pattern. You can export (and in that way save) a Sound from the active pattern to the +Drive. For more information, please see “9.3 SOUND MANAGER” on page 24.

A sample that is used in a Sound 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 Sounds or patterns anymore.

•When a Sound is imported to a pattern, it becomes a copy of the Sound on the +Drive and is not linked to the original Sound 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 Sounds or patterns anymore.

A Pattern contains:

•A kit.

•All parameter settings for the eight MIDI tracks.

•Sequencer data like trigs and parameter locks.

•The settings on the TRIG PARAMETERS page, BPM, length, swing and time signature settings.

A Kit contains:

•Eight audio track Sounds.

•LEVEL settings for the audio tracks.

A Sound contains:

•A sample (linked from the +Drive), plus the SRC, FLTR, AMP, and LFO PARAMETER pages settings for the audio track.

A Sample contains:

• A 16 bit, 48 kHz, mono audio file.

9.1 THE +DRIVE SOUND LIBRARY AND THE SOUND POOL

The total size of the +Drive is 1 GB. The +Drive Sound library can hold up to 2048 Sounds (256 Sounds in each bank A-H) that are available to all projects. The +Drive Sound library also contains the samples. You can load up to 64 MB (about 11 minutes) of samples to a project. A sample must be imported to a project, for it to be Sample locked. For more information, please see “11.3.4 SAMP” on page 39.

Sounds can be loaded to a pattern from either the +Drive Sound library or the Sound pool of the active project. The difference between the two is that the +Drive Sound library has the capacity of 2048 Sounds, available to all projects, while the Sound pool is a part of a project and limited to 128 Sounds. The primary benefit of Sounds loaded to the Sound pool is the possibility for them to be Sound locked. This feature is not available for the Sounds in the +Drive Sound library. For more information, please see “10.10.2 SOUND LOCKS” on page 34.

9.1.1 ADDING SOUNDS TO THE SOUND POOL

You must first add Sounds to the Sound pool to be able to perform Sound locks.

1.Press [FUNC] + [PATTERN MENU] to open the IMPORT/EXPORT menu.

2.Select MANAGE SOUNDS, and then press [YES] to open the SOUND MANAGER.

3.Select the Sounds you want to add to the Sound pool by highlighting them and pressing [YES].

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9. PATTERNS, KITS, SOUNDS, AND SAMPLES

4.Press [RIGHT] to open the SOUND OPERATIONS menu.

5.Select COPY TO ... and then press [YES].

6.Select SOUND POOL, and then press [YES].

9.2SOUND BROWSER

Press [FUNC] + LEVEL/DATA to open the SOUND BROWSER. The SOUND BROWSER is used to preview and load Sounds. This menu will show a list of all Sounds in the +Drive Sound library. Scroll the list by turning the LEVEL/DATA knob or by pressing [UP]/[DOWN]. Press [FUNC] + [YES] to preview the Sound before you load it to the track. Press [YES] to load the Sound 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.

VIEW POOL lists Sounds available in the Sound pool of the active project. The command is only available when you browse the +Drive Sound library.

VIEW +DRIVE lists Sounds available on the +Drive Sound library. The command is only available when you browse the Sound pool of the active project.

SORT ABC sorts the Sounds in alphabetical order. The command is only available when Sounds are being sorted by slot number.

SORT 123 sorts the Sounds by slot number. The command is only available when Sounds are being sorted alphabetically.

FILTER opens a list where Sounds can be arranged according to tags. Select and deselect tags by pressing [YES]. Multiple tags can be selected. Exit the tag list by pressing [NO].

SEARCH will perform a text search and list all Sounds with names matching or including the text input. For more information, please see “6.5 THE NAMING SCREEN” on page 17 on how to enter text.

9.3 SOUND MANAGER

Press [FUNC] + [PATTERN MENU] to open the IMPORT/EXPORT menu. The SOUND MANAGER is used to manage Sounds, for example import, export, rename, and tag Sounds. Select MANAGE SOUNDS and press [YES] to open the SOUND MANAGER. Sounds can be saved, loaded, renamed, tagged et cetera. Opening this menu will show a list of all Sounds found in the +Drive Sound library. Turn the LEVEL/DATA knob or press [UP]/[DOWN] to scroll through the list. Press [FUNC] + [YES] to preview the Sound before you load it to the track.

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