Sequentix CIRKLON Operation Manual

SEQUENTIX MUSIC SYSTEMS
Ltd.

CIRKLON SEQUENCER

OPERATION MANUAL

V1.11

© 2015

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Table Of Contents

Table Of Contents ........................................................................................................................... 1-3

Getting Started with Cirklon ......................................................................................................... 1-9

1. The Cirklon Concept............................................................................................................. 1-10

Song Play Mode ........................................................................................................................ 1-12

2. The Main Pages ....................................................................................................................... 2-1

Using more than 16 tracks...................................................................................................... 2-3

Track Muting and Status ........................................................................................................ 2-4

Changing Song Values ........................................................................................................... 2-4

Creating and Assigning an Instrument .................................................................................... 2-8

Deleting An Instrument ....................................................................................................... 2-12

Creating and Assigning a Pattern ........................................................................................... 2-13

Fill Patterns ............................................................................................................................... 2-15

3. Pattern Edit .............................................................................................................................. 3-1

What’s in a P3 Pattern ? ............................................................................................................. 3-2

Editing Pattern Values ............................................................................................................... 3-3

Editing Multiple Steps ................................................................................................................ 3-6

Gang ......................................................................................................................................... 3-6

Slope Edit................................................................................................................................. 3-9

Pattern Level Values ................................................................................................................. 3-10

Directions .............................................................................................................................. 3-11

Timebase ................................................................................................................................ 3-12

Last Step ................................................................................................................................ 3-12

Bar Length ............................................................................................................................. 3-13

Bar Edit ...................................................................................................................................... 3-14

Bar Copy ................................................................................................................................ 3-15

Bar Extend and Copy............................................................................................................ 3-15

Bar Values ................................................................................................................................. 3-15

Bar Loops ............................................................................................................................... 3-16

More On Step Editing ............................................................................................................... 3-17

Copy / Insert .......................................................................................................................... 3-17

Sculpting and Randomisation ............................................................................................. 3-19

Audition................................................................................................................................. 3-19

Configuring the Aux Rows ...................................................................................................... 3-20

P3 Edit Menu Options .............................................................................................................. 3-22

First step ................................................................................................................................ 3-22

ReSync ................................................................................................................................... 3-23

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Sync ........................................................................................................................................ 3-23

Apply FTS ............................................................................................................................. 3-23

Aux Macro & Accumulator Config ..................................................................................... 3-23

Saving Patterns ......................................................................................................................... 3-24

4. Using Scenes ........................................................................................................................... 4-1

Gbar ......................................................................................................................................... 4-2

Length ...................................................................................................................................... 4-2

Song Advance ......................................................................................................................... 4-2

Force To Scale ......................................................................................................................... 4-2

Xpose ....................................................................................................................................... 4-4

Saving a SCENE.......................................................................................................................... 4-4

Mute Hold ............................................................................................................................... 4-5

The Scene List ............................................................................................................................. 4-7

Move SCENE .......................................................................................................................... 4-8

Scene Loops ............................................................................................................................. 4-8

Recall / Copy To Workscene .................................................................................................. 4-9

Deleting A Scene ..................................................................................................................... 4-9

Change View / Scene Select View ....................................................................................... 4-10

Editing a Saved Scene .............................................................................................................. 4-12

Pattern “Saved” Status ......................................................................................................... 4-13

5. Creating Another Song .......................................................................................................... 5-1

6. Play Mode Menu .................................................................................................................... 6-3

Scene Auto Save ...................................................................................................................... 6-3

Edit Track Thru Over-ride ..................................................................................................... 6-3

Tune ......................................................................................................................................... 6-3

MIDI Reset .............................................................................................................................. 6-3

Card / Sysex ............................................................................................................................ 6-4

More… ..................................................................................................................................... 6-4

User Configuration ................................................................................................................. 6-5

7. MIDI configuration................................................................................................................. 7-1

Port Configuration ..................................................................................................................... 7-1

soft thru ................................................................................................................................... 7-1

thru FTS ................................................................................................................................... 7-2

record enable ........................................................................................................................... 7-2

mclk send ................................................................................................................................ 7-3

MIDI Clock Reception ............................................................................................................ 7-4

MTC – MIDI Time-code ......................................................................................................... 7-4

MIDI Options .............................................................................................................................. 7-5

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Remote Control MIDI Input .................................................................................................. 7-5

8. CVIO and Drum Trig Configuration .................................................................................... 8-1

CVIO Config ............................................................................................................................... 8-1

CV Output Settings ................................................................................................................. 8-2

Gate Port Settings ................................................................................................................... 8-7

Drum Trig Config ....................................................................................................................... 8-9

9. Track values ............................................................................................................................ 9-1

Adding a track MIDI value .................................................................................................... 9-1

Assigning Knobs A & B .......................................................................................................... 9-6

Saving Track Values ............................................................................................................... 9-6

Track Control Values .............................................................................................................. 9-8

Track Mixer Page .................................................................................................................. 9-10

10. CK patterns ........................................................................................................................ 10-1

Drum Grid Edit ......................................................................................................................... 10-2

Row View .............................................................................................................................. 10-5

Quick Note Number Edits ................................................................................................... 10-8

Bar Length ................................................................................................................................. 10-8

Last Step .................................................................................................................................... 10-9

View and Signature Timebase ............................................................................................... 10-10

Changing the Signature Timebase .................................................................................... 10-11

GANGing Notes in CK Edit .................................................................................................. 10-12

GANGing by Step or Row ................................................................................................. 10-13

Clearing the Ganged Selection .......................................................................................... 10-14

Copying, Deleting and Inserting Notes ................................................................................ 10-15

Copying by Bar or Ganged Selection ................................................................................ 10-17

Delete (Cut) Notes .............................................................................................................. 10-17

Fixing and Labelling Rows .................................................................................................... 10-18

Other Edit Menu Functions ................................................................................................... 10-19

Apply Quantisation ............................................................................................................ 10-19

Delete Doubles .................................................................................................................... 10-20

First Step and Pattern Rotate ............................................................................................. 10-20

11. CK Event List Edit ............................................................................................................ 11-1

12. Real- and Step-time record ............................................................................................... 12-1

CK Pattern Record .................................................................................................................... 12-1

P3 Record................................................................................................................................... 12-4

P3 Step-time record (Arp capture) .......................................................................................... 12-5

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13. P3 Patterns & Aux events ................................................................................................. 13-1

Randomizing Pattern Values ................................................................................................... 13-1

How Events Work .................................................................................................................... 13-3

Inter Track Events .................................................................................................................... 13-6

A Quick Grab ........................................................................................................................ 13-7

Auxes With Double Values.................................................................................................. 13-7

Target Values For Grab, Swap and Push ............................................................................ 13-9

Transpose By Events .......................................................................................................... 13-10

Aux Notes ............................................................................................................................... 13-12

Chord Memory ................................................................................................................... 13-13

Polyphonic Real-time Record ............................................................................................ 13-13

Accumulator Events ............................................................................................................... 13-14

What Is An Accumulator? ................................................................................................. 13-14

Putting An Accumulator To Work .................................................................................... 13-15

Relative Accumulation ....................................................................................................... 13-17

Accumulator Configuration .............................................................................................. 13-18

Auxiliary Value Scaling – No More .................................................................................. 13-22

The Accumulator Events.................................................................................................... 13-23

Accumulator Mask Events..................................................................................................... 13-24

Knob Mask Events .................................................................................................................. 13-24

Knob Grab Events .................................................................................................................. 13-25

Set Step Value Events ............................................................................................................. 13-26

Repeat Events ......................................................................................................................... 13-26

Redirect Aux Events ............................................................................................................... 13-28

Pattern Control ....................................................................................................................... 13-28

Global Control ........................................................................................................................ 13-28

14. Loading and Saving Data ................................................................................................. 14-1

Wipe Songs ............................................................................................................................... 14-1

Card SAVE ................................................................................................................................ 14-2

Card LOAD ............................................................................................................................... 14-7

MIDI Sysex .............................................................................................................................. 14-10

Factory Reset / Memory Initialisation................................................................................... 14-11

15. Firmware update .............................................................................................................. 15-1

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Cirklon Sequencer front panel

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Getting Started with Cirklon

In order to follow these instructions for the Cirklon sequencer, it will help to familiarise
yourself with the layout of the front panel, and the names of the various controls.
Refer to the diagram on the previous page.

The horizontal row of keys along the lower part of the panel labelled with numbers 1 to 16 are
the STEP or TRACK KEYS.
The knobs located directly above the step keys, are the STEP or TRACK ENCODERS.
In modes where they are used to alter track settings, such as muting and muting tracks, they
will be referred to as TRACK keys/encoders.
In pattern edit modes, where they are used to alter the settings for the steps of a pattern, they
will be referred to as STEP keys/encoders.

The encoders rotate continuously, and have no marker positions.
They are used to make relative changes to numeric values, and to scroll and select in lists.
All encoders have a centre-push action, so they can be pressed as well as turned.
In some cases, the encoder may also be held in while it is turned, to enable coarse adjustment
of values in larger steps.

In contrast, the two KNOBs, labelled A & B, which are used for absolute control of values,
have a 300 degree range, and have no press-switch.

The encoder to the immediate right of the display is the VALUE encoder.
The centre push switch of the VALUE encoder is the ENTER key.
This encoder is often turned to alter a numeric value, then pressed to confirm the change.
It is also used to confirm operations where it was not used to edit any value.

All other keys and encoders are labelled with their respective names, except for the transport
keys, where the commonly used square, triangle and circle symbols denote the keys for
STOP, RUN and RECORD.

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1. The Cirklon Concept

Cirklon is a multi-track MIDI and CV/gate hardware sequencer.

It has a maximum of 64 TRACKS, each of which can play a PATTERN of notes and/or
controller messages on a connected INSTRUMENT.

Instruments can be connected to one of 5 independent MIDI ports, an optional multi-channel
CV/gate port, one of 6 virtual ports on the class-compliant USB-MIDI interface, or to an
optional drum-trigger interface connected to the SYNC port.

All the MIDI ports can send MIDI tempo clock or time-code.
The SYNC port can be used to slave DIN SYNC equipped devices at 24 or 48 ppqn.

Cirklon has 2MB of battery-backed RAM, which holds all the song and instrument data, and
configuration options.
The contents of RAM are retained while the power is off, so you are ready to return to the
music you were working on the moment it is powered up.

Songs, instrument definitions and configuration settings can be saved to, and loaded from
internal flash storage, or a standard FAT format SD or MMC card in the rear panel slot.
The entire contents of memory can also be saved as a single .SYX file to internal or card
storage, or backed up and restored via MIDI system exclusive dump.

All the patterns which make up one piece of music are grouped together in a SONG.
Multiple songs can be loaded in Cirklon’s memory, but only one can play at a time.

As well as the patterns, each song also has an instrument assignment for each track, and a set
of SCENES.

The instrument assignments determine which instrument will play the pattern on each track.

Scenes are used to recall the pattern selections for every track, along with the initial
active/muted status, and a number of other values.

By creating a sequence of scenes in a song, a whole piece can be assembled from smaller
sections, each composed of a number of patterns playing across the tracks.

The following figure shows a simplified example of what is going on inside Cirklon while
playing a song.
After describing what’s there, we’ll go through the stages needed to get to this point.

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The box on the left shows the contents of a simple song.
All the information needed to play a piece of music is contained in the current song, and the
instrument definitions.

The tracks are part of the sequence engine, which controls pattern playback and generates all
the outgoing MIDI events.

The instrument definitions describe the real instruments which Cirklon is to control, most
importantly the MIDI port and channel to which the instrument is connected.
The instrument definitions also include some options to alter track behaviour, and can store
user-defined note and controller labels to aid editing, and a set of ‘track values’ for real-time
control. We’ll look at these advanced settings later.

Instrument definitions are global - the choice of which instrument to use on each track is
made as part of each song, but every song loaded has access to the same set of instruments.

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In this example, the song contains:

- 2 scenes (scene 1 and scene 2)

- 4 patterns (pattern 1, pattern 2, pattern 3 and pattern 4)

- 4 instrument assignments

When the song is loaded:

- the instrument assignments tell each track which instrument to use

- Scene 1 becomes the current scene, telling each track which pattern (if any) it should

play

The tracks look at the instrument definitions to see which MIDI port and channel they should
send note and controller messages to.
For this song, track 1 would use the settings held for synth 1, track 2 for synth 2, track 3 for
drum mch, and track 4 for vsti 1.

Scene 1 tells track 1 to play pattern 1, and track 2 to play pattern 2.

Recalling scene 2 will assign patterns to tracks 3 and 4, which were not used during scene 1.

In scene 2, tracks 1 and 2 continue to play the same patterns they were assigned during
scene 1.

Note that the scenes only tell the tracks which patterns to play – the patterns themselves are
not part of the scene.
The same pattern can be used by many different scenes in a song.

Song Play Mode

Any of the scenes in a song can be manually recalled at any time.
In order to play through all the scenes of a song automatically, for a controlled song structure,
Cirklon must be in song play mode.

In song play mode, each scene will play for a chosen number of bars, then advance to the next
scene in the list.
Some scenes may be set to require ‘manual advance’, so you can have a song which plays
automatically through some sections, but repeats certain scenes indefinitely until you choose
to proceed. You may also set a scene loop, which will cause playback to loop round a number
of consecutive scenes in the song.
By default, Cirklon will enter song play mode whenever you are on the SONG page.

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You can change this behaviour by holding the SONG key and pressing the RUN key.
This combination will not start the sequencer running, it only changes the song play setting.
There are three choices:

auto scenes advance only while on the SONG page
song scenes always advance, except in pattern edit
work scenes must be recalled or advanced manually

In order to get to the stage of having a first song play on a new Cirklon, we’ll need to cover

the following tasks:

- creating and assigning some instruments

- creating and assigning some patterns

- saving the pattern assignments as a scene

So let’s get started…

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2. The Main Pages

There are four main pages which can be viewed on the display.
These are:

- SONG

- SCENE

- TRACK

- PATTERN

These pages are selected using four dedicated keys on the left of the panel.

When you first power on a new Cirklon, you should see the SONG page, like this:

The LED in the SONG key will be lit to show you are on the SONG page.

Note: In the event that Cirklon’s memory has been wiped and there are no songs present, the
SONG page may look like this:

In this case, you’ll need to create a new song. Hold SHIFT and press SONG, then press
encoder 6, below the text “create new”, which should have appeared on the display.

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Press the SCENE key, and you will switch to the SCENE page, which should look like this:

Pressing the TRACK key will switch to the TRACK page, which should look like this:

The TRACK page shows information for the current edit track – the single track that is active
for pattern selection, editing and real-time recording.

The lower left of the display above shows the current edit track is number 1.
This will also be shown by a green LED, just below and left of track encoder 1:

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Note: Where they are used on the SONG, SCENE or TRACK pages, the 16 keys and encoders
will be referred to as the track keys/encoders, since they each control one of 16 tracks.
In pattern edit, they will be referred to as the step keys/encoders, since they edit the step
values of the pattern.

The edit track selection can be changed on the SONG, SCENE or TRACK pages by pressing
the track encoders, or by turning the BAR encoder.

Using more than 16 tracks

The total number of tracks available is user-configurable to 16, 32, 48, or 64.
To change the number of tracks, see section 6 – Play Mode Menu, User Configuration.

Since there are only 16 track keys and encoders, if the number of tracks is set to 32 or more,
the tracks are mapped to the track keys and encoders in banks of 16.
You can step through the banks by pressing the BAR encoder.
A message on the display will show which tracks are selected.
Note that this may result in the edit track selection being outside the current track bank
selection, in which case none of the track encoder LEDs will be lit.
You may also change bank along with the edit track selection by turning the BAR encoder.
The single green track encoder LED will scroll across the tracks, and continue into the next
bank as you go past the end.

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Track Muting and Status

The track keys are used to control the active/muted status of each track.
A pattern assigned to a track will not play unless the track is active, with the key LED on.

If a pattern is assigned to a track which has been muted, the LED below the track key will
light green to show the track is in use.
If a track has been set active, but no pattern is assigned, nothing will play, so the key LED will
be lit at half brightness.

It is possible to “arm” a muted track, so that it will become active at the next global bar loop.
Do this by holding the SHIFT key as you press the track key for the track to be unmuted.
The LED below the track key will be amber until the track becomes active.

The SHIFT + <track key> function will not mute an active track unless a user configuration
option for this is enabled – see the later section on user config.

Changing Song Values

Changes to the main values on each of the play pages are made using the VALUE encoder.
The selected value is shown with an inverse or highlighted background.

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Go back to look at the SONG page:

There are 3 values which can be adjusted here:

- the TEMPO

- the SWING setting

- the song name

The display above shows the selection highlight over the TEMPO value, but it is not yet active
for editing. Press the VALUE encoder (ENTER), and arrow symbols will appear around the
TEMPO value:

You will also see that the selection highlight no longer covers the fractional part of the tempo.
By default, tempo is adjusted in steps of 1 BPM. Turn the VALUE encoder and you should
see the value change.

It is possible to adjust the tempo in coarser or finer steps.
Hold the SHIFT key, and turn the VALUE encoder one step to the left, then release SHIFT.
The highlight should now look like this:

Adjustment of tempo will be in steps of 10 BPM.
Now hold SHIFT, and turn VALUE back two steps to the right.
The highlight will now cover all the digits, and you will find tempo will change by steps of

0.1 BPM.

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It is also possible to set the tempo using the SCULPT key.
Tap the SCULPT key at least twice, at the desired tempo. The display will show the tempo
detected.

While the TEMPO value is selected for editing, it is possible to save the value for the current
song or scene by pressing the SAVE key.
A popup window will show two options, with song selected by default:

To save the current tempo value for this song, press ENTER.
When a song has a stored tempo, the label [SONG] will appear below the value.
You can remove the stored value by pressing the DELETE key while the tempo value is active
for edit.
When the song is later recalled, the tempo will be adjusted to its stored tempo value.

Once the tempo has been set as required, press VALUE/ENTER again.
The arrows will disappear and the encoder is once more active for selecting the other values
on the page.

The SWING setting is adjusted in the same way as tempo, and can be saved for the song or
scene.
Swing has a range of 0 (off) to 16, and adds a 16th note shuffle feel to the playback of patterns.

If you select the song name, then press VALUE/ENTER, you will see a display like this:

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The flashing cursor at the end of the song name, and the visual representation of the step keys
and encoders at the bottom of the display show you are in text input mode.
All track key, encoder and lower LEDs also light up in this mode.

In text input mode, you can enter or edit the name using the keys and encoders.
The character on each key is shown in the visual aid.

Press DELETE to delete the character before the cursor.
Hold the SHIFT key to enter upper case letters.
Pressing the ROW encoder toggles between letters and numbers – the visual aid will switch
accordingly.
You can move the cursor within the text by turning the VALUE encoder.
When the cursor is within existing text, the INSERT key will switch between new characters
being inserted into, or over-writing the text.

To confirm the edited text, press ENTER (the VALUE encoder).
To exit without affecting the stored name, press the MENU key.

This mode of text entry is used for naming a number of objects, such as songs, scenes,
patterns and instruments.

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Creating and Assigning an Instrument

Let’s return to the task of creating and assigning an instrument.
This is done from the TRACK page. If not already selected, press TRACK to get there.

There are four values shown on the main TRACK page:

- the pattern selection, labelled PATTERN:

- the fill-in pattern selection, labelled FILL:

- the track number (or name), labelled TRACK:

- the current instrument assignment, labelled INSTRUMENT:

Remember the values shown here are for the current edit track, in this example track 1.
One of the values will be highlighted to show it is active for editing.
As on the song page, to move the selection highlight turn the VALUE encoder.

Turn the VALUE encoder clockwise, until the instrument field is highlighted.
The instrument field will show “ - - - “ where no instrument is assigned.
Then press VALUE/ENTER to access the instrument list:

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The instrument list will be empty on a new machine, so the only choices are to assign “no
instrument” to the track, or to create a new instrument.
“create new…” will be selected by default, so press ENTER to define the first instrument.

The instrument definition page will first appear like this:

The field on the top line of the display is active in text input mode, waiting for the name of
the new instrument. Using the track keys and encoders, enter an instrument name in the
same way as for the song name.

Once a name has been entered, the rest of the instrument definition values will be accessible.
Use the VALUE encoder to move the highlight selection between the fields, then press to edit
the values as before.
Arrows will appear around a numeric value to show it is active for editing.
When highlighted, the values between square brackets will toggle on each press of ENTER.

In this view, the MIDI port value is active:

The MIDI port should match the port the instrument is connected to. This can be one of the 5
standard MIDI ports, one of 6 ‘virtual’ ports on the USB MIDI interface, or the CV port, which
is used to route note and controller output to the optional CVIO expansion for CV/gate
output.

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The Multi option is intended for use with multi-timbral synthesizers which may respond to
MIDI messages on a number of channels at the same time. When multi is enabled, an extra
field to specify the MIDI channel number will appear alongside the instrument assignment on
the track page. This saves any need to redefine the same instrument for each channel it is
active on.

The No Xpose and No FTS options globally disable the effect of any pattern transposition or
force-to-scale for the instrument. This is most commonly used with drum machines or
percussion modules, where specific sounds are mapped to each note number.
The No Edtrk Thru option disables automatic soft-thru of incoming MIDI notes to the
instrument, even if it is assigned to a track selected as the current edit track.

Two further instrument values can be found by scrolling the value selection further, indicated
by the down-arrow at the bottom right:

The CC0=bankM and CC32=bankL options enable the use of CC numbers 0 and 32 for the
bank select MSB and LSB messages which some instruments use in conjunction with MIDI
program change messages to select from more than 128 internal sounds.

When either bank select CC is enabled and a value is in use, it will be transmitted and stored
along with the program change message, as described in the later chapter on Track Values.

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Once the correct MIDI port and channel have been set, press the SAVE key to store the new
instrument. This will return you to the TRACK page, with the newly created instrument
assigned to the current track:

If you wish to create and assign instruments for other tracks, press another track encoder.
The display will switch to the new track, with the instrument assignment field still active for
selection.
Press ENTER to access the instrument selection for the new track. Then choose the “create
new…” option once more.

If you wish to edit the settings for a previously created instrument, access the instrument list
as normal, scroll to the instrument you wish to edit as if to assign it, then hold the SHIFT key
while pressing ENTER. This will return to the instrument definition page for the stored
instrument, where you can change any of its values.
Press SAVE to confirm the changes, or MENU to cancel the changes and restore the previous
settings.

For the example song, we would continue to create the instruments synth 2, drum mch and
vsti 1.

As each new instrument is defined, they will appear in the instrument list, along with their
port and channel values, like this:

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Deleting An Instrument

If an instrument definition is no longer required, you can delete it by highlighting the
instrument in the selection list, then pressing the DELETE key.

A two-step confirmation page will appear to make sure you don’t do this by accident.

Also, if the instrument is used by any loaded songs, you will be prompted to choose an
alternative instrument with which to replace the existing assignments.

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Creating and Assigning a Pattern

With the instruments created and assigned to tracks, we can create some patterns.
On the TRACK page, use the VALUE encoder to highlight the PATTERN: field.

As with the instrument assignment, pressing ENTER on the pattern selection will bring up
the pattern list.
In a newly created song, or on a track which has not yet had a pattern created for it, this list
will be empty, except for the options shown:

There are two different types of pattern which can be created.

The first is the P3 pattern, which is an enhanced version of the patterns found on the
Sequentix P3 Sequencer.
The P3 was intended to allow pattern creation in a similar fashion to analogue step
sequencers, with added means for patterns to modulate and interact in ways only possible
with a processor-based machine.

The second type is the CK pattern, which is an event-list pattern better suited to polyphonic
keyboard and percussion parts, and un-quantised real-time recording.
These will be described in depth later.

Normally the pattern list will show only the patterns that were created on the current track.
You can expand the list to include all patterns in the song by holding SHIFT as you press
ENTER to bring up the selection list.

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To create the first pattern, scroll to “+ create P3 pattern” and press ENTER.
The display will return to the track page, with the newly created P3 pattern assigned to the
track:

The pattern field now shows a symbol for the pattern type (P3), and its default name ­“pattern 1”.
You will also see an asterisk following the pattern name, and a further symbol indicating the
pattern status is unsaved.

If a pattern is used in a number of different scenes in a song, making changes to the pattern
could cause unexpected changes elsewhere in your song.
To prevent this, a pattern may be marked as saved. This can be done manually in pattern
edit, or it will happen automatically when a scene is saved which uses the pattern.

When you edit a saved pattern, an edit copy of the pattern is made.
This means you can easily undo any changes since the point of saving by recalling the saved
version. Or you can save the edited pattern as a new version, leaving the original pattern as it
was before editing.

The asterisk after the pattern name shows that there are unsaved changes to the pattern,
either because it is newly created, or because edits have been made since it was last saved.
The saved status of each pattern can also be seen in the pattern selection list.

If you make changes to any saved patterns and then save the scene, you will be prompted to
choose whether you want to save the changes to the pattern, save-as a new version of the
pattern, skip saving to leave the edit copy in place, or lose the edits.

As well as protecting against unexpected changes to a song, this behaviour also simplifies the
creation of incrementally changing versions of a pattern over the course of a number of
scenes.

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Fill Patterns

In addition to the main pattern, you may optionally assign a fill pattern to each track.
Fill patterns are selected in the same way as the main pattern, from the same pattern list, by
selecting the FILL: field.

Any track assigned a fill pattern will switch to playing that pattern during a fill-in.

A fill-in can be manually triggered while in play mode using the FILL key. Once triggered,
the FILL key will light until the fill-in completes, or turn off immediately if there are no tracks
with a fill pattern assigned. Fills will trigger continuously if you hold the FILL key.

There are options to control how each track behaves during a fill-in, and when the fill-in
should finish. These options are set on the fill config page, which is accessed by holding the
SHIFT key then pressing FILL. The fill config page looks like this:

The track numbers for each track in the current bank are shown along the bottom of the
display, with a block above.
Tracks which have a fill pattern assigned will have a filled-in block, as shown here for track 1.
The vertical position of each block on the four lines, labelled auto, active, mute or no fill shows
the fill mode for that track. Change the mode by turning the encoder above each track key.
The behaviour for each mode is as follows:

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auto - the fill pattern will play if the track is active (un-muted)
active - the fill pattern will always play
mute - the track will be muted during a fill-on
no fill - the track will ignore the fill-in

At the top right of the fill config page, the fill release setting is shown.
This determines when the tracks will return to their main pattern after a fill has been
triggered, as follows:

key - fill patterns play only while the FILL key is held
bar - fill patterns play until the end of the next global bar
scene - fill patterns play for the rest of the current scene

Change the release option using the VALUE encoder.

Note that in pattern edit, the FILL key is assigned a different purpose, you can only trigger a
fill-in while on the SONG, SCENE or TRACK pages.

Pattern edit and real-time record will act on the fill pattern if the FILL field is selected on the
TRACK page when you enter pattern edit or record modes.
The fill pattern on the current edit track will play continually while you are editing or
recording it if the user config option “play fills in edit/record” is enabled – see the section on
“Play Mode Menu” for details of setting user config options.

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3. Pattern Edit

With an empty pattern created and assigned to the track, we need to edit the pattern to get
some notes playing. Switch to pattern edit by pressing the PATTERN key.

Normally the pattern assigned to the current edit track will be edited.
However if the FILL field is selected on the track page, the fill pattern assigned to the edit
track will be edited instead.

As a shortcut to create a pattern, if you press the PATTERN key on a track with no pattern
assigned, a new P3 pattern will be created and assigned as you enter pattern edit.

At first, the edit page for a new P3 pattern will look like this:

The top line of this view shows:

- the pattern name

- the current direction

- the timebase setting (duration of each step as a division of the master tempo)

- the current bar number and bar length of the pattern

The lower part of the display shows all the current values for a single step of the pattern
This is the step view.

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What’s in a P3 Pattern ?

STEPs

ROWs

1 2 3 4 5 6 7 8 9

10

11

12

13

14

15

16

note

velo

length

delay

aux A

aux B

aux C

aux D

gate / tie / skip / X

aux status * 4

Each bar of a P3 pattern can be thought of as a matrix of values, as shown below.
There are 16 steps in each bar, shown as the columns of the matrix.

For each step there are a number of different values.
There are numeric values for note, velocity, length, delay, and four auxes, labelled A to D.
There are status or flag (on/off) values for gate, tie, skip, X and the four auxes.
These values make up the rows of the matrix:

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The purpose and range of each of the row values is as follows:

row

purpose

range

note

Sets the MIDI note to be played

C0 to G#10
(MIDI notes 0 to 127)

velo

Sets the velocity value for the note message

1 to 127

length

Sets the duration of the note.
value is shown in the form s:tt
s shows a whole number of steps, tt shows
48th divisions of a step

0 ticks to 16 steps, or “hold”

delay

Allows the note start to be delayed by a
number of clock ticks (at 192 ppqn)

0 to 47

aux A – aux D
value

Set the values for assigned MIDI controller
messages, or aux events

MIDI CCs : 0 to 127
Aux event ranges vary

aux A – aux D
status

Trigger the associated CC or event

on / off
gate

Trigger the note

on /off

tie

Force the current note to sustain until just
after the start of the next step

on /off

skip

Skip over this step to the next un-skipped
step

on / off

Note that the length value can be longer than a single step period.
Assuming that the tie flag is not active, a note will continue to play for its full length,
overlapping any other notes in following steps.
This means the P3 pattern type can play overlapping, sustaining notes – a feature not
available on the P3 itself.
If the same note is triggered again while still playing, it will be released then re-triggered with
the new step length.

Editing Pattern Values

In pattern edit the 16 step encoders are used to change the numeric values.
The 16 step keys are used to toggle the flag values on and off.
The LEDs in the step keys indicate the current flag status.

In a newly created pattern, the step keys will be assigned to the gate flags, and the encoders to
the note values.
Turn on some of the steps by pressing the step keys.
Then press the RUN key to start Cirklon running.

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If you have created and assigned your instrument correctly (remembering to connect an
instrument to the correct MIDI port and channel), it should start playing notes on the active
steps.

For example, if you press steps 1, 5, 9 and 13, the front panel should look like this:

You can then turn some of the step encoders, to adjust the note values.
As the encoder above a step is turned to edit the value on that step, the display position will
change to show all the values for the edited step, with the newly changed value updated.
A red LED below one step encoder indicates the current step.

You can switch to view the other steps without editing their values by pressing the step
encoders.

To select which row value you wish to edit, turn the ROW encoder.
In step view, you will see this moves the selection highlight through the different values.

Normally the step keys are assigned to the gate flags.
These control whether a note is triggered on each step.
If you select one of the four auxiliary rows, the step keys will be assigned to the status flags
for that aux row.
These control whether a CC message will be sent, or an aux event triggered on each step.
The selection of gate and the four auxiliary flags is therefore linked to the row selection.

To access the remaining three flag values – tie, skip and X, there are dedicated keys on the far
left of the front panel.
When one of these keys is pressed, its LED will light.
The LEDs in the step keys will now show the status for the selected flag.
The current gate status will appear on the LEDs just below the step keys, so you can still see
which steps are active as you decide where to apply ties, skips and X’s.

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In the example above, if you press the TIE key, then set the tie flag on step 1 only, the panel
should look like this:

The TIE key is lit to show the step keys are assigned to the tie flags.
The LEDs under the steps show the gate flags.
Step 1 is lit to show tie is active on that step only.

While the step view shows every value for single step, the row view shows the current row
values for every step in the current bar.

Press the ROW encoder, or the PATTERN key, to switch to the row view:

Pressing ROW once more will switch back to the step view.

In the row view, the 16 bars for note, velocity, length or delay will be filled in if the gate flag
for the step is active – as can be seen for the active steps 1, 4, 9 and 13.

On the aux rows, the bars will be filled on each step that the aux is enabled.

The appearance of the bars is slightly altered for the length values.
Since the length value can cover a wide range, from fractions of a step up to whole numbers,
the width of the bars is used to indicate whether the length is one or more steps long.

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The number indicator also changes range to suit.

In this example, step 1 has a length of 24/48ths of a step, shown as :24
Step 5 has a length of 1 whole step, shown as 1:0
Step 9 has a length of 6 and ¼ steps, shown as 6:1 – once the length is beyond one step, it
increments in quarters, rather than 48ths of a step.
The bars for a length of less than 1 step are narrower than the normal bars.

In addition to the normal range of length values, there is also a special “hold” setting.
This means that the note should be held until the start of the next active step in the pattern.
Set the length on a step to hold by holding SHIFT as you turn an encoder to edit the length

value. The value will appear as “hold” in step view, and a full size bar with a value of :00 in

the row view.
Turn the step encoder without the shift key to return the step to the last numeric length value.

Editing Multiple Steps

Pattern edit has a couple of labour-saving features for times when you want to change the
values on a number of steps by the same amount, or want to create a rising or falling ramp in
consecutive values, but don’t want to go through every step making individual adjustments.
These are the gang and slope edit functions.

Gang

Gang mode is enabled in pattern edit using the GANG key, just above the BAR encoder.
The gang function allows you to link a number of pattern steps together, so that any
adjustment made using the encoder for one of the ganged steps will affect all ganged steps
equally.

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To enable gang mode for the first time, hold down the GANG key, then press some of the
step encoders in turn, though don’t hold more than one track encoder together – that has a
different effect.
As you press each encoder, the LED below it should light green.
This shows the step has joined the gang.

After selecting a number of steps this way, release the GANG key.
The LED in the GANG key should remain lit, as will the green encoder LEDs for the ganged
steps.
Now edit the value on any of the ganged steps using its encoder.
The values of all the ganged steps will change by the same relative amount.
The effect is easiest to see in the row view.

Note that gang only applies to numeric values – not to the on/off flag values on the step keys.
Any steps which are not ganged can be still be edited as normal, without affecting any other
steps.

To turn off gang mode, press the GANG key again.
The GANG LED will go off, as will the green step encoder LEDs, restoring the single red LED
on the current step.

There are various ways to change the gang selection:

- to toggle steps in and out of the gang, hold GANG while pressing the step encoders

- to remove all the steps from the gang, hold the DELETE key and press GANG

- to invert the gang, i.e. to toggle the gang state of every step, hold SHIFT and press

GANG

A further option allows you to quickly gang a repeating pattern of steps.
If you hold the GANG key, then hold one step encoder and press another step encoder so
both encoders are held at the same time, those two steps will be added to the gang, along
with all the other steps in the bar at multiples of the spacing between the two selected.
For example, to gang every even numbered step:

- hold GANG

- hold step encoder 16

- press step encoder 14

Steps 14 and 16 will be ganged.
The gap between steps 14 and 16 is 2 steps, so every other step a multiple of 2 steps from
steps 14 and 16 will also be ganged.
In this case, that means every even step.

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Try it with other patterns.
Note that holding GANG and pressing two adjacent steps will gang every step.

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Slope Edit

The second multiple-step editing function is slope edit.
This option allows you to adjust the first or last value in a range of steps such that the step
values in between follow a straight line between the first and last values.

To use slope edit, hold the step encoder for the first or last step in the range of values you
wish to edit. Then, adjust the step encoder at the other end of the range.
This is best done in row view, so you can easily see the effect.

For example, here is a pattern with varying velocity values:

If you were to hold the encoder for step 5 (which has a value of 108), then turn the step
encoder for step 9 (which has a value of 105) down by one, step 9 will have a new value of

104.

However, since step 5 was held, all the values between step 5 and step 9 will form a straight
line:

As there are 4 steps from step 5 to step 9, and a difference of 4 between the first and last step
values, each new value changes by 1 from step to step.

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If we were then to hold step 5, and turn to reduce step 10’s value by one, this would be the
result:

Step 10 has decreased by 1, to 16.
Step 5 holds its value, but steps 6, 7, 8 and 9 are fitted to a straight line between the step 5 and
10 values.

This function is particularly effective for creating chromatic runs of notes and ramping
velocity or controller values.

Slope edit works with coarse editing of the values.
That is, if you press and hold a step encoder that you are turning, it will adjust the value in
larger increments. Indeed, both the first and last encoders can be held in and turned
simultaneously, for rapid adjustment of slopes.

Pattern Level Values

We’ll take a break from editing pattern steps to look at the pattern-level values.
Most important of these are the direction and timebase values.
These values appear on the top line of the pattern edit page.
Here the current direction is forward, and the timebase is 16:

These are edited in the same way as the main values on the play pages – select the value to
edit with the VALUE encoder, then press to edit the value.

Both values use a selection list, so the new value selection does not take effect until
VALUE/ENTER is pressed to select it.
You can cancel without changing the selection using the MENU key.

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Directions

Direction

Behaviour

forward

Steps play in ascending order, looping back to step 1 after the last step is
reached

reverse A

The pattern will play in reverse, starting from step 1, and looping back to the
last step after step 1

reverse B

The pattern will play in reverse, starting from the last step, and looping back
to the last step after step 1

alternate

The pattern will play in forward then reverse B directions, as described
above

pendulum

The pattern will play forward until the last step, and then reverse direction
without playing the last step twice

random

Steps will play randomly

brownian

After each step the pattern will randomly:

 move to the next step (50% chance)
 move to the previous step (25% chance)
 repeat the current step (25% chance)

eitherway

There is a 50% chance of moving to the next, or previous step.
It could go either way.

The direction setting for each pattern determines what order the steps will be played in.
The available options are shown in the selection list:

The currently active direction is shown with an arrow before it.

The behaviour of each direction is shown in the following table:

Note that steps with skip set are skipped in all direction modes.
References in the above table to step 1 really mean the lowest numbered step without skip
active.

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Changes of direction take effect immediately. This could lead to a pattern getting out of step

1 2 4 8 16

32

64

2T

4T

8T

16T

32T

64T

with the patterns on other tracks.
To prevent this, after a change of direction, the pattern is flagged for re-synchronisation at the
next global bar loop.
The global bar will be described fully in a later section, but briefly it provides a reference for
the start of a common 1-bar loop, so irregular length patterns can be kept in step.

Timebase

The timebase setting determines the duration of each step as a division of the tempo.
The available timebase values are shown below:

The default timebase is 16.

The numbers relate to the equivalent note length of one step.
For example, timebase 16 means each step lasts for one sixteenth note.
The timebase settings with a T after the number are triplet settings.

There are more timebase values available than will fit in the height of the display, so you will
find that the selection list will scroll up or down to allow access to all values:

As with direction, changes to the timebase value take effect immediately, but the pattern will
be flagged for re-sync with the global bar.

Last Step

Although each bar of a P3 pattern has up to 16 steps, you may want to use fewer for a shorter
pattern.

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This could be done by setting later steps to skip, but a simpler method is to the use the bar’s
last step value.

To set the last step, hold down the LAST key. While LAST is held, all the step LEDs will go
off, except for the LED in the step which is currently set as last step.
Press any step key to set that as last step.

A useful tip here is that the LAST key is double-click-sticky.
For one-handed operation, you can press the LAST key twice in rapid succession.
The LED will lock on, allowing you to select a new last step in the pattern without having to
hold both keys at once.

Bar Length

A P3 pattern can be up to sixteen bars in length – a maximum of 256 steps.
To adjust the bar length of a pattern, hold the LAST key as you turn the BAR encoder.
New bars will be added to the end of the pattern, and the new length of the pattern in bars
will be updated in the top left of the display:

To select one of the new bars for editing turn the BAR encoder.

You can set pattern edit to automatically follow the current bar in the pattern as it plays using
the bar follow option.
To activate bar follow, press and hold the BAR encoder, turn it one step in either direction,
then release it.
A message box should briefly appear in the display to confirm that bar follow is active:

The BAR encoder LED will also turn red.
You can use the same gesture (press, hold & turn BAR) to deactivate it again.
Bar follow will be deactivated automatically if you turn any of the step encoders.

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This is to prevent inadvertent edits to steps in the wrong bar if an encoder is being turned as
the bar advances.

Now that there are multiple bars in our P3 pattern, we can take a look at some values specific
to each bar. These are found in the bar edit page.

Bar Edit

To access the bar edit mode, press the BAR encoder.
The display switches to a new view, shown here with the full panel, as it would appear for a 4
bar pattern:

Note that the ROW encoder LED, which was red in step edit, has turned off.
The BAR encoder LED will be green, unless bar follow is active, in which case it will remain
red.

The step keys and encoders take on different functions while in bar edit.

The current bar playback position is shown by a single step key LED.
The length of the pattern in bars is shown in red by the LEDs under the step keys.
The encoder LEDs indicate the current bar selected for editing in green.
You can press either the step keys or encoders to change the current bar selection.

The COPY and DELETE keys also light to show that they are active for use in bar edit.

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Bar Copy

To copy the contents of one full pattern bar to another bar in the pattern, first ensure the bar
you wish to copy is selected as the current bar, either by pressing the step key or encoder, or
turning the BAR encoder.
Hold the COPY key, then press the step key for the bar you wish to copy the current bar into.
The current bar selection will remain on the source bar.
You can confirm the bar was copied by selecting the destination bar, and switching back to
step edit mode by pressing the ROW or BAR encoders. All step values and flags will match
the source bar.

Bar Extend and Copy

You can simultaneously increase the bar length of a pattern and copy the current bar into all
new bars added using the extend and copy function.
This operation is performed by holding COPY, then pressing a step key to select a destination
bar which is beyond the current last bar of the pattern.
The bar length will be increased, and any new bars added will be copies of the current bar
within the previous pattern length.

Bar Values

Lets look more closely at the bar edit display:

There are three rows of values in the lower part of the display, labelled XPOSE, REPS and
GBAR, with one of each value for every bar in the pattern.
These values are edited using the step encoders for each bar number.
You can select which row of values to edit by turning the ROW encoder.

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XPOSE allows you to transpose each bar up or down by 5 octaves.

REPS allows you to set each bar to repeat up to 99 times.

The GBAR value can be 0 or 1, to represent OFF or ON.
This is the global bar sync option. When active (set to 1), the bar will be reset to its first step
every time the global bar loops.

This will only have an effect if there are steps skipped in the bar, or its last step has been set
such that the total number of steps playing in the bar is not a factor of global bar length.

The practical result is that an odd-length bar will play for the full length of the global bar
before the pattern advances to the next bar.

Bar Loops

It is possible to set a bar loop within a P3 pattern.
Any bars before the start of the loop will play only once when the pattern starts to play.
Once in the loop section, the pattern will return to the first bar of the loop after the last.
Any bars in a pattern after the loop end will never play.

To set a bar loop, hold the SHIFT key, then press two of the step keys in turn, to set the first
and last bars of the loop section.
The LEDs below the looped bars will remain red, but bars before or after the loop section will
show amber.

You may have noticed the graphic below the bar values.
This shows the length of the pattern in bars and the current bar playing, and any bar loop.
For example, if we loop bars 3 and 4 of a 4 bar pattern, the value display would look like this:

- the larger marks around bars 3 and 4 indicates the loop limits.

The bar 4 marks are filled to show it’s the current playback position.

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More On Step Editing

Let’s return to step edit, and look at some more advanced operations.

Copy / Insert

Any number of steps in a P3 pattern can be copied to a clipboard, and inserted (pasted) at
another location in the same pattern, or into another P3 pattern.

To copy steps, press the COPY key. This message will appear briefly:

The COPY key will flash to show that a copy operation is expected, and the top line of the
display will show:

Press the first step of the section to be copied.
For example, if you press step 1 of the first bar in the pattern, the top line will now show:

Then press the last step of the section to be copied.
Note that you can use the bar encoder to move to another bar of the pattern before pressing
the step key.
As soon as you press the second step key, a brief message will confirm the length in steps of
the copied section:

Now you are ready to insert the clipboard contents elsewhere in the pattern.
Or you can return to play mode to select another pattern for editing if you wish to copy steps
from one pattern to another.
To insert the clipboard contents into a pattern, press the INSERT key.

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The top line of the display will change to something like this:

It shows the number of steps on the clipboard, and a filter for the values to be inserted.
When you copy steps, the values from every row are copied for each step, but when you
come to insert them, you can choose which values are to be changed.

The filter option is changed using the VALUE encoder.
The options are:

- all all row and flag values

- all –aux all row and flag values, except for the aux rows

- auxes only the aux rows

- note only the note values

- velo only the velocity values

- length only the length values

- delay only the delay values

- flags only the gate, tie, skip and X flags

- aux A only the aux A values and flags

- aux B only the aux B values and flags

- aux C only the aux C values and flags

- aux D only the aux D values and flags

To insert the selected values into the pattern, press the step key where the first step in the clip
should be written.
The full length of the clip will over-write each step from that point on.
If the end of the pattern is reached before the full clip has been inserted, insertion will wrap to
the start of the pattern and continue.

When copying steps to the clipboard, if you select a last step before the first step, the selected
steps are copied to the clipboard in reverse order.
Small sections, or the pattern can be reversed in this way.

Note that bar values are not copied using step copy and insert.

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Sculpting and Randomisation

The sculpt feature allows you to use knobs A and B to continuously edit the values of a
pattern as it plays.

Sculpt must first be enabled by holding the SHIFT key and pressing SCULPT.
The SCULPT key will light to show it is now active.
The top line of the display will also switch to show the sculpt mode, and a preview of the
values for the current knob positions.

While sculpt is active, and the pattern playing, holding the SCULPT key will modify the
value for the current row and step, according to the knob positions.
There are four sculpt modes. You can change mode by pressing VALUE/ENTER, then
selecting the new mode by turning and pressing ENTER once more.
The four modes are:

Sculpt ABS - the position of knob A will over-write the value in each playing step.

Sculpt REL - the position of knob A will adjust the stored value by a relative

amount. This can be a positive or negative offset, with zero effect at the mid-position of the
knob.. If you hold SCULPT as the pattern repeats, each step will move incrementally further
from its original value.

Random ABS - each playing step value will be over-written with a value randomly

chosen from the range of values set by knobs A and B. It doesn’t matter whether knob A or B

is greater.

Random REL - each step is adjusted by a random offset, again in the range between
knobs A and B. Multiple passes will cause a cumulative change to the stored values.

The best way to appreciate the effect of these functions is to experiment with them while
looking at the row view.

Audition

This is useful feature if you are editing a P3 pattern while playback is stopped.
If you hold a step encoder, then press the step key below it, the note value on that step will be
sent to the assigned instrument, so you can confirm the note selection by ear.

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Configuring the Aux Rows

In a new P3 pattern, the aux rows are assigned to some commonly used MIDI CC numbers.
Each aux row can be configured to use any other CC number if required.

They can also be used to send MIDI after-touch, pitch-bend, program change and NRPN
messages, or they can be assigned to a range of “aux events”, which will be described in a
later chapter.

To change the assignment of an aux row, first make sure it is selected as the current row using
the ROW encoder.

Then press and hold the ROW encoder.
While holding it in, turn it one step in either direction.

This gesture will bring up a selection list on the right of the display.
For a row currently assigned to a MIDI CC, the list will look like this:

The arrow next to “cc # 1” shows that this is the current assignment for the row.
Use the ROW encoder to scroll to a new CC number to assign, and press ROW to confirm the
selection.
If you want to cancel the operation, press the MENU key.

Scrolling through this list, you will see only MIDI CC values.
For the other MIDI message types and the aux events, there is a second level selection to
access groups of all possible aux assignments.

Press, hold and turn the ROW encoder to access the first level selection list.
Once in the list, press, hold and turn ROW a second time.

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The group list should then appear:

Most of the entries are groups of aux events. Their use is covered in detail in a later section.

To send other types of MIDI message, scroll down and select the “MIDI Send” group.
Pressing ROW will take you back to the first level list for the new group.
In the MIDI Send group, the options are:

NRPN messages require one or two parameter selection numbers (MSB and LSB), so if you
choose the NRPN option, an extra step is required to configure those values:

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While the “Select NRPN:” option is shown, step encoders 9 and 11 (which are directly below
the MSB and LSB values on the display) will light red.
They are used to select the required MSB and LSB values.
With the selection made there, press ROW once more to confirm the new assignment of an
NRPN to the aux row.

P3 Edit Menu Options

Further edit operations can be found on the edit menu.

This is accessed from the top level edit pages (step or bar edit) by pressing the MENU key.
While the menu is active, a number of options appear along the bottom of the display:

The step encoders under each of these options will light red as a visual cue that the menu is
active. The encoder below each option is pressed to select it.

First step

The first step function allows you to pick any step in a pattern, and have the entire pattern
rotated such that the chosen step becomes the first step of the first bar of the pattern.

After pressing encoder 6 to select this option, a brief message will appear, then the top line of
the display will show:

Press the step key for the step you wish to become the new first step of the pattern, and all
steps will move around accordingly.
To cancel the operation before selecting a new step, press the MENU key.

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Note that bar values are not moved in this operation.

ReSync

The resync menu option toggles the automatic resynchronisation of patterns on or off.

Patterns are normally resynchronised at the end of the global bar whenever an edit is made
that changes the effective length of the pattern.
Such edits include changes to direction, timebase, step skipping and bar length.

Sync

The sync function allows you to manually reset pattern playback to the first step of the bar.

Apply FTS

This option permanently applies the current “force to scale” setting to the notes of the pattern.
Force To Scale is a scene-level setting, and will be covered in the following chapter on scenes.

Aux Macro & Accumulator Config

The aux macros are pre-defined sets of aux event assignments for the aux rows.

The accumulator config page allows you to alter pattern settings related to advanced use of
aux events. Please refer to the later section on aux events.

Having covered just about everything in pattern edit for P3 patterns, let’s get back to some
higher level operations.

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Saving Patterns

A newly created pattern will not be lost when you exit from pattern edit mode.
However, saving a pattern allows you to protect the pattern so that further edits can always
be undone, restoring the pattern to the state it was in at the time of saving.
You can also save an edited version of a pattern as a new pattern, leaving the original pattern
as it was before the recent changes were made.
The pattern save menu can be accessed in pattern edit by pressing the SAVE key:

Depending on the state of your pattern, not all of these options will appear.
It is always possible to undo changes made to a pattern since you most recently entered
pattern edit mode.
For a pattern which has been saved, there is also a second of level of undo, which allows you
to reverse any changes made since the point at which the pattern was saved.

A newly created pattern will be unsaved

In this case, the save menu will only show the choices of “save” and “save as...”.
The “save” option will mark the pattern as saved.
“save as...” will prompt for a new pattern name, and create a copy of the pattern under this

new name, also marking this new pattern as saved.

After you make changes to a pattern which has previously been edited, you will see the
“undo edits” option.
This option undoes only the changes made to the pattern since you most recently entered
pattern edit. This option will appear for saved or unsaved patterns.

If you edit a saved pattern, the “recall saved” option appears.
This option reverses all changes made to the pattern since it was saved.

Finally, the “lose+ exit” option will undo the most recent changes to a pattern, end exit from

pattern edit mode. This will be equivalent to “undo edits” if there have been changes made

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since you entered pattern edit, but it will restore the saved version of the pattern if no
changes had been made.

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4. Using Scenes

Now that we have instruments assigned to tracks, and have created and edited some patterns
to play on those instruments, we can look at how to assemble groups of patterns into a longer
piece of music, using SCENEs.

Remember that the patterns themselves are not part of a scene - scenes are simply a record of
which patterns are to be played by each track, the initial active/muted status for each track,
and a number of other scene-level values.

The main scene values are viewed and edited on the SCENE page:

The VALUE encoder is used for selection and editing of these values just as on the song page.

The top line of the display shows the scene name.
In this case, we are looking at the workscene.

The workscene is a temporary holding area for the values and pattern assignments that make
up a scene.
You begin each new song in the workscene, since there will not yet be any saved scenes.

As you save the workscene to real scenes, you will remain in the workscene.
Each save will store the current state of the workscene as a new scene at the end of the scene
list.

This allows you to build a song from a sequence of scenes by gradually adding or changing
patterns on some of the tracks, while leaving other tracks unchanged, without messing
around with a lot of scene save-as operations.

Once you are working with a stored scene, you will be able to change the name here, but the
workscene cannot be renamed.

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Gbar

This is the global bar length - the length of one bar in the scene, in 16th note steps.
In song play mode, it is used along with the length value to control how long a scene will
play for before advancing to the next scene.

It also provides a common reference for the start of a bar for odd-length P3 patterns that you
wish to resynchronise with the other tracks at regular intervals.
This is achieved by turning on the bar-level gbar setting described the in P3 pattern edit
section.

Length

The scene length is the number of bars (of Gbar steps) the scene will play for before
advancing to the next scene in song play mode.
It can take a value from 1 to 200.

The current scene length is also used as the default length when creating new patterns.
If you typically work with patterns of 4, 8, 16 bars, etc., you can set this value to your
preferred length to save the need to edit the bar length of each new pattern manually.

Song Advance

This option controls whether or not the scene will advance to the next scene while in song
play mode. Set to the default of “auto”, the scene will advance after one pass. Set to “man”,
the scene will loop indefinitely, until a new scene is selected from the scene list, or you select
the next scene using the shortcut of holding the NEXT key then pressing SCENE.

Force To Scale

With Force to Scale (FTS) active, all notes played will be forced into the chosen scale (or key
signature).
If a note is not included in the current scale, it will be moved to the nearest note which is.

There are two FTS values - the root note and the scale. Each is selected from a list.
There are a number of preset scales to choose from, and also space for 8 user defined scales.
The user scales are stored at the song level – that is, each is accessible only to the song it is
defined in.

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Any of the scales can be edited, though edits will only be saved permanently to user scales.

Step: 1 2 3 4 5 6 7 8 9 10

11

12

Note:

C

C# D D# E F

F# G G# A A#

B

Step:

1 2 3 4 5 6 7 8 9

10

11

12

Note:

C C D D E F F G G A A

B

To edit a scale, access the selection list as if to assign the scale, then hold SHIFT as you press
ENTER.

In FTS edit, the step keys are used to toggle each note of the chromatic scale in the FTS scale.
Note that the root note cannot be disabled.

FTS has a number of uses:

 Making sure all notes played are in key while making live pattern edits
 Changing the FTS root or scale while playing for instant key changes
 Editing the notes in the FTS scale in real-time as a performance tool

What FTS Does

To explain the effect of FTS, let’s say you have a pattern with 12 notes in a rising chromatic

scale:

With FTS set to a root note of C and the Major scale, the notes in the pattern above which are
not in the key of C Major will be moved to the nearest notes which are.

The actual notes played would therefore be:

Note that the pattern itself is not changed – the notes are corrected dynamically as the
pattern plays.

This may be a problem for certain instruments, such as drums, where the you don’t want the

wrong sounds to be played. The option “No FTS” in the instrument definition allows you to
disable force-to-scale for any such instrument.

You can also disable FTS on any step of a P3 pattern, by using the transpose defeat, or X, flag.

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Xpose

This is the scene level transpose value.
All patterns will be transposed by the selected value, unless the instrument option “No
Xpose” is enabled, or the X-flag is set on some pattern steps.

The FTS option linked to the transpose value controls whether the force-to-scale settings are
applied before (pre) or after (post) the scene transposition.

With the XPose FTS option is set to post, in effect, the root note setting for FTS is also
transposed.

Saving a SCENE

Whenever you create a new song, you will start in the workscene.
Once you have created some patterns for the first section of your song, the workscene can be
saved to a stored scene.

To do this, ensure you are on the SCENE page, then press the SAVE key.
You will be prompted to enter a name for the scene:

You can edit this name in the usual way, or just press ENTER to accept the auto-generated
name.
Once the scene has been saved, you will remain in the workscene, as described before.
This is intended to simplify the progress of the initial building of a song.

Once a number of scenes have been added, you can switch to song play mode by switching to
the SONG page, or manually enabling song play.

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Whenever you enter song play mode while in the workscene, at the end of the next global bar,
the first scene of the song will be loaded and the pattern assignments and initial active/mute
status of the tracks for the scene recalled.

The names of the current and next scenes are shown on the SONG page:

A countdown of bars until the next scene change is shown to the right of the next scene name.
In this example, Scene 1 is the current scene.
Scene 2 is set to follow after 4 bars (4 repeats of the gbar length defined for Scene 1).

The graphic at the very bottom of the display provides a visual indication of the current scene
length, and the playing bar position in the scene.

The single ‘bar’ indicator second from bottom shows the length and current position of the

pattern assigned to the current edit track.

If the Song Adv option for scene 1 was set to manual, it would not advance, and the text
manual would appear in place of the countdown.

A manual scene allows you to have a point in a song where the patterns of a scene will repeat
indefinitely until you manually advance to the next scene.

You do this by holding the NEXT key and pressing the SCENE key.
A brief message will confirm the pending scene change.

Mute Hold

As each scene is recalled during a song, the initial active or muted status for each track is also
recalled.
The Mute Hold feature allows you to over-ride this behaviour if you wish.

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To change the mute hold option, hold the SHIFT key and press SCENE.
There are three possible settings:

OFF - mute settings are always recalled
Next - for the next scene to be recalled, the current mute status will be preserved,

then mute hold will revert to OFF
LOCK - for all scenes recalled, the current mute status will carry over

As you change the mute hold setting, a popup message on screen will confirm the new mode.

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The Scene List

In order to view all the scenes in a song, or to manually recall a scene other than the next
scene in the song, you must use the scene list.

The scene list is accessed from the SCENE page by pressing the SCENE key.
If you are not on the SCENE page, two presses of SCENE will take you to the scene list.

This list shows our example song, with two scenes.
The number to the right of the scene name shows the length of the scene, except for the scene
currently playing. For the current scene, the value counts down, to show how many bars will
play before the scene loops (or advances, if song mode is enabled). A scene set to manual
advance will show a letter ‘m’ next to the length/count number.

Using the VALUE encoder, you can scroll to any scene on the song, then press to recall that
scene on the next global bar loop, or immediately if Cirklon is stopped.
The arrow just before the scene name indicates the current scene playing.

The scene list provides some other scene operations, accessed by pressing the MENU key:

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Move SCENE

This function allows you to move the selected scene to another position in the song.
Select the scene in the list you wish to move, press MENU, then select move SCENE.

The display will show the full list of scenes. Scroll to the scene before the new location for the
selected scene.

An extra entry for “- start of song –“ allows you to move a scene to the very start of the song.
In this example, Scene 1 has been selected for moving:

…pressing VALUE/ENTER will reposition Scene 1 after Scene 2, thus changing the order of
the song:

Scene Loops

Normally in song play mode, a song will start at the first scene, play through all scenes, and
then repeat the final scene indefinitely.
A scene with all tracks muted can be saved as last scene to set a definite end to a song if
required.

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The menu options “set loop start” and “set loop end” allow you to set a smaller section of the
song to loop.
First select the scene you wish to start or end the loop with in the list.
Then press MENU, and select one of the “set loop …” options.

The labels “loop…” and “…end” beside the reps counts will show the loop points.

The “clear loop” option removes both loop settings from the song.

Recall / Copy To Workscene

These two options allow you to return to the workscene, to continue building a song.

If you switched to song play mode while you are working on a scene that you hadn’t saved,

“Recall workscene” will restore the workscene so you can continue to edit or save it.

“Copy to workscene” copies all the pattern assignments and values for the current scene into

the workscene and switches to it.
This allows you to return to the building phase of a song, incrementally saving variations on
the workscene as new scenes at the end of the scene list, without having to use save-as and
manually naming each scene.

Deleting A Scene

You can delete the currently selected scene in the list by pressing the DELETE key.
A confirmation screen will follow.
Note that only the scene itself is deleted.
Any patterns assigned in the scene will remain in memory, whether they are used in other
scenes or not.

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Change View / Scene Select View

For rapid access to a larger number of scenes, the scene list has an alternative view, where
scene names are shown in two columns of up to eight scenes.
This is the scene select view.

Scene selections can still be made using the VALUE encoder as before, but the step encoders
can be used to select scenes directly, and to quickly set scene loop start and end points at the
same time.
The “change view” menu option is used to switch between the two views.
Your choice of view is stored permanently.

An example of how Cirklon might look in scene select is shown below:

This example song has a total of 10 scenes, not numbered contiguously as some scenes have
been edited and saved-as, while others have been deleted.

In the scene select view, each scene is mapped to one of the step encoders.
The current scene is shown by a flashing amber LED.
All other scenes are shown with a red LED, unless they are within a scene loop, in which
cases they have a green LED.

On the display, the scene names are shown in two columns (if required), with the number of
the step encoder the scene is mapped to just before the name.

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The scene length (or bars remaining count for the current scene) is shown after the name, with
the letter ‘m’ to indicate a scene set for manual advance.
The first scene in any scene loop has a letter ‘S’, and the last scene in a loop a letter ‘E’.
A ‘>’ symbol appears between the step key number and the name of the current scene.

Any scene shown on the display can be selected directly by pressing the step encoder
mapped to it.

Unlike the scene list view, selecting a new scene here will not return you to the main scene
page.

While a change to another scene is pending, an asterisk (‘*’) will appear before that scene’s

name.

You can also scroll the highlight selection through the scenes using VALUE, and select the
next scene by pressing ENTER.
If there are more than 16 scenes in a song, the VALUE encoder can be used to move back and
forth through all the scenes. As you do so, a different bank of scenes will be mapped to the
step encoders for direct selection.

A scene loop can be set quickly here by holding one step encoder, then pressing and releasing
the encoder for a later scene.
The first scene selected will be queued as the next scene to play, and also set as the scene loop
start. The later scene will be set as the scene loop end.

This mode may be preferable to the basic scene list for improvising the structure of a song in
real-time, rather than sticking to a pre-determined scene order.

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Editing a Saved Scene

When you have recalled a saved scene, either manually or by entering song play mode, you
can make changes to the pattern assignments and mute status of tracks, or change the scene
level values.

Changes made to a saved scene will not update the saved version of the scene.
You must normally re-save the scene if you want any changes to be permanent.
This prevents unexpected changes to finished scenes in songs where you might want to make
temporary changes to mutes, etc. during playback.
In some cases, for example where you are still working on the structure of a song making
changes to various scene values, you may find it easier to have changes to scenes save
automatically.
To enable this, you can turn on the “Scene auto-save” option found in the play mode menu –
see the later section for details.

When any changes are made to a scene so that it differs from the saved version, the SAVE key
will light when you are on the SCENE page.

When you press the SAVE key, a display like this will appear:

This shows a reminder of what you have changed, in case you lost track.
The step encoders under the three options will light red.

You can:

- over-write save the changes to the scene

- save as new save the altered scene to a new scene

- back return to the scene page without saving

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When you choose the over-write or save-as-new options, further confirmation pages may
then appear.

Pattern “Saved” Status

As described earlier, each pattern has a status value which records if the pattern has been
saved. An additional value records how many scenes make use of the pattern.
When you save a scene, all the patterns assigned in that scene will normally have their status
updated to saved, and their scene usage count updated.

You should normally save any edits made to patterns at the same time as the scene is saved, if
they have not already been manually saved in pattern edit.

For each saved pattern which has been edited, the scene save process will present you with
the following options:

You can:

- save the edits to the original version of the pattern, thus affecting all scenes that use the

pattern

- save the edited version of the pattern to a new pattern

- skip saving for now, leaving the edited version in place (not recommended if you don’t

want to risk unexpected changes if you later save this pattern for another scene)

- lose the changes, and restore the original version of the pattern

To stop this process becoming too long-winded, you are not prompted to edit the pattern
names either when saving, or saving as new.
New patterns will have their names auto-generated based on the existing name.

If you are choosy about your pattern names, remember to edit the name and save your
patterns manually when you finish working on the pattern itself.

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5. Creating Another Song

Having covered the basics of creating the first song from scenes and patterns, let’s look at
how to start a new song, so we can do the whole thing again.

Existing songs are selected, and new songs created, from the SONG list.
The SONG list is accessed by holding SHIFT while pressing the SONG key.

Note that you can access the SONG list without first going to the SONG page – that is, you
won’t automatically activate song play mode if you don’t want to.

The song list will look like this:

Pressing encoder 6, under “create new”, will create “Song 2”, and return you to the play

mode page you were on (SONG, SCENE or TRACK)

Once there is more than one song in memory, you can recall any other song from the list.

You may also change the position of any song in the list by pressing encoder 7, under “move
song”. As a short-cut for song selection, you can advance to the next SONG in the list by

holding the NEXT key and pressing SONG, in the same way as for scene advance.
Using the move song option allows you to re-order the songs in memory as a set for live
performance.
To delete a song from memory, select the song in the list, then press the DELETE key.
A confirmation page follows, where you must press encoders 6 and 7 together to remove the
song.

The first task needed for any new song is to assign instruments to one or more tracks.
To ease this task, there is an option to copy the instrument assignments from any other song
into the current song.
You may find it useful to create an empty song or songs, with instruments assigned to the
tracks as you prefer, but no scenes or patterns, to be used as a template for new songs.

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The “import instruments” option is found on the play mode menu, as described in the
following section.

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6. Play Mode Menu

The play mode menu is accessed from the SONG, SCENE or TRACK pages, by pressing the
MENU key.
The main options appear along the bottom of the display:

Scene Auto Save

This option allows you to enable automatic saving of changes to saved scenes, as described in
the earlier section, Using Scenes.
A popup list shows and alters the current setting. This option resets to OFF at power-on.

Edit Track Thru Over-ride

This option allows you to temporarily disable the soft-thru transmission of notes from a
master keyboard on the current edit track.
While edit-track thru is disabled, the current edit track selection LED will flash.

Tune

This function is only accessible while Cirklon is stopped.
It will send a MIDI note C 4 on any active track. This is to give owners of unstable analogue
synthesizers a fighting chance of keeping them in tune.

MIDI Reset

While Cirklon is stopped, this option will send MIDI all-notes-off messages on all channels, to
clear any hanging notes.

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This option will also reset some internal state information that is used to minimise the use of
MIDI bandwidth.
For example, if the same MIDI CC value is sent repeatedly by a pattern to a MIDI output, the
CC message is sent only once. There is usually no point sending the same value that has just
been sent.
However, after MIDI reset is pressed, the most-recently-sent state is cleared, so any
unchanging values will be re-transmitted.
This can be of use where a stored program change message has been sent to an instrument
which has then been manually changed to a different patch.
The stored program change message will be re-sent after a MIDI reset is performed.

Card / Sysex

This option gives access to the data saving and loading features, which are described in the
later section, “Loading and Saving Data”.

More…

Some less commonly used functions are to be found on the “more>” sub-menu.
Pressing this option brings up a further selection list:

Use the VALUE encoder to select from these options.

“import instrs” allows you to copy the instrument assignments from any other song in

memory.

The MIDI port config, MIDI options, CVIO Config and drum trig config pages will be
described in detail in the following sections.

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The “accidentals” option allows you to choose whether note names are shown as sharps or

flats. This is a song-level setting.

The “set date & time” option allows you to adjust the internal real-time clock, used by Cirklon
for time-stamping files saved to SD-card.

User Configuration

The “user config” option gives access to a number of preference options:

Scroll down the list using the VALUE encoder, and press it to toggle each setting.
The list extends off the bottom of the display, but is shown here in full.
The effect of each setting is as follows:

no auto pattern on edit - P3 patterns are not created automatically when you attempt to
edit the pattern on a track with no pattern assigned.

name patterns after track - by default, patterns are named “pattern nn”, or “cirklon nn”,
where nn is an auto-generated number. With this option enabled, the name of the track is

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included in the name. For example, a P3 pattern may be named “Trk1 P1”, a CK pattern
“Trk1 C1”. If a custom track name has been defined, this will be used in place of the default
“Trkn”.

no pattern after delete - normally after deleting a pattern, the previous pattern will be
assigned to the track. With this option enabled, the track will have no pattern assigned.

show MIDI note numbers - MIDI note values will be shown as numbers, rather than note
names.

aux edit sets flag - when adjusting the numeric value of an aux step in a P3 pattern,
inactive steps will be turned on automatically.

ck edit, auto clear gang - in CK pattern edit, the selection of ganged notes is cleared when
gang mode is turned off.

play fills in edit/record - this option is enabled by default, and causes a track with a fill
pattern assigned to switch to the fill pattern during pattern edit or real-time record. It can be
turned off if this behaviour is not desired, for example during live performance.

select main ptrn on trk chg - if you have selected the fill pattern field, switching to another
track will return the track page selection to the main pattern field

force save menu after edit - this option will cause the pattern SAVE menu to appear
when you exit pattern edit mode after making any changes to a pattern.

always auto-name save-as-new - when saving a pattern as new in pattern edit, an auto-
generated name will be used, and you will not be prompted to confirm it.

full manual bar follow - some pattern edit operations cancel the ‘bar follow’ setting, to
prevent unintended edits of pattern steps as the bar position advances. This option leaves it
up to the user to manually turn off bar follow.

ignore MIDI stop if master - when running from its internal tempo clock, Cirklon will
normally stop in response to an incoming MIDI STOP message. With this option enabled, it
wont.

treat MIDI CONT as START – some PC-based sequencer software sends MIDI continue
messages with song position pointer, instead of MIDI start. Setting this option will allow
Cirklon to slave correctly to such software.

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48ppqn DIN sync - DIN SYNC normally outputs 24 pulse per quarter note, as used
by most Roland equipment. This option doubles the output clock rate to 48ppqn, suitable for
use with equipment made by Korg and others.

number of TRACKS - this option allows you to vary the maximum number of tracks
available. The value can be 16, 32, 48 or 64. When more than 16 tracks are enabled, the track
keys and encoders will switch between banks of 16 tracks as described in section 2.
Note that lowering this value may affect playback of existing songs which use track numbers
above the new limit.

edit track bank follow - when changing the bank of tracks assigned to the track keys and
encoders, the current edit track will be changed. This can prevent confusion when the edit
track is not visible in the current bank.

SHIFT+[trk] mutes active - holding SHIFT and pressing a track key to “arm” a track for
unmuting will also apply to active tracks, muting them at the next global bar loop.

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7. MIDI configuration

Port Configuration

The MIDI port configuration page (accessed via the play mode “more” menu described in the
previous section) looks like this:

There are a total of twelve MIDI ports in Cirklon.
These are 5 standard serial MIDI ports, the CV port for communication with the internal
CVIO option, and 6 virtual ports on the USB port (which acts as a class-compliant USB MIDI
slave device).

The MIDI port configuration page allows you to choose the soft-thru behaviour and
selectively enable real-time recording for each IN port, and to set the MIDI clock and MTC
transmission options for each OUT port.

All options are edited using the encoders below the display.
Encoder 6 selects the port to edit, with the settings for that port highlighted.
Not all ports can be shown at once, so the display will scroll as required.

The purpose of each setting is as follows:

soft thru

This option allows incoming MIDI messages (notes, controllers, etc.) to be re-transmitted at
one of the MIDI OUT ports, on a different MIDI channel if required.
Pressing encoder 7 will step through five main soft-thru options.
Encoder 7 can also be turned to select port and channel numbers where needed.
The options are:

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off - no incoming messages will be re-sent

edtrk - incoming messages will be re-sent to the instrument on the current edit track.

This is primarily for use with a master keyboard, so it can rapidly be routed to any
instrument by selecting its track.

thru - incoming messages will pass straight through, on the same MIDI channel, to
the same numbered MIDI OUT port. This option might be used with an instrument that has a
two-way connection to a Cirklon port and local-control turned off, so that the keyboard
always controls its internal sound generation, but with the messages routed through Cirklon
for real-time recording.

<p>-nn - incoming messages pass on their original MIDI channel, but to a different
MIDI port.
When this option is selected, you must turn encoder 7 to change the destination port number.
The label ‘<p>’ shown here represents a port number when setting the option.
The text ‘nn’ is as it appears, and shows that messages remain on their original channel.
This option may be used to re-route incoming messages from one of the USB ports to one of
the serial ports, or the CV port. This would allow a connected PC to send messages to
instruments attached directly to Cirklon. If you really had to.

<p>-<nn> - this option will pass incoming messages to another port, re-channelised to a
single MIDI channel. When this option is selected, turn encoder 7 to step through all possible
port and channel numbers.

Caution: setting up MIDI thru routes where external MIDI paths exist between Cirklon inputs
and outputs may mean messages can become stuck in an infinite loop, causing buffer over­flows.
It’s a good idea to think your MIDI configuration through in advance so you don’t get any
nasty surprises.

thru FTS

This option will cause any notes that are being soft-thru’d on a port to have the current
Force-To-Scale setting applied.

record enable

Each port can be enabled for real-time recording.

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There are three possible settings – off, on, and on/thru

When real-time record is active, the normal soft-thru settings for a record-enabled port do not
apply.
Instead, the mthru option on the real-time record menu controls the passing of any messages.
To allow soft-thru while recording, ports must have the on/thru option set here.

mclk send

This option configures out-going MIDI clock.
MIDI clock can be sent whether Cirklon is acting as tempo master, or slaved to another
device.
There are a number of options for clock transmission to support manual pausing and re­synchronisation of slaved devices using the transport keys.
The options are:

off - MIDI clock is not sent on this port

norml - standard MIDI clock is sent.

tempo - only MIDI clock tempo ticks are sent, without START or STOP messages. This

is useful for devices such as effects processors with a MIDI clock sync function.

A further three options, rsyn1, rsyn2 and rsyn3, provide various re-synchronisation effects for
slaved devices while Cirklon is already running.

These effects are triggered using the RUN key (labelled - ), or a combination of SHIFT
and RUN.

For all three options, pressing RUN will cause a MIDI START message to be sent at the
beginning of the next bar.
The effect this has on slaved devices will depend on whether that device is already running or
not.
For a device that can be manually stopped, pressing play allows it to be re-started in sync
with Cirklon. This is especially useful for machines like the Roland TR909, which must be
stopped to switch between play and edit modes. You can manually stop the 909 with its
STOP key, switch between play/edit, then re-start it in sync from Cirklon without having to
restart everything.

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By pressing SHIFT + RUN together, further effects are possible, as follows:

rsyn1 - MIDI clock will be stopped just before the end of the current bar, then restart
at the beginning of the following bar. This is useful for slaves which have somehow got out
of step with Cirklon. For example, if you are using odd-length patterns on a TB303.

rsyn2 - MIDI clock will be stopped immediately SHIFT + RUN is pressed. Clock will
restart at the beginning of the following bar. This allows, for example, a slaved drum
machine to be dropped out for part of a bar, then brought back on the next.

rsyn3 - MIDI clock will not start when Cirklon is first started. You need to press RUN,
or SHIFT + RUN once more after starting, to start slaved devices. Further presses of RUN /
SHIFT + RUN behave as for rsyn1

MIDI Clock Reception

There is no setting to enable MIDI clock reception for a MIDI input port, as it is handled
automatically.
If Cirklon is stopped, and a MIDI clock START message is received at any input port, Cirklon
will switch to MIDI clock slave mode and start running in time with the incoming tempo.

MTC – MIDI Time-code

MIDI time code is a linear time reference often used by audio recorders and computer-based
sequencer applications.
It has some advantages, and some disadvantages compared to MIDI clock.
MTC does not carry any tempo information. To use MTC, the tempo settings on master and
slave devices must be set to the same value manually.

Cirklon can send MIDI time-code on any port, and will also respond to incoming MTC by
starting, and running at its internally configured tempo.
Encoder 11 is pressed to toggle the transmission of MTC for each port.

MTC supports a number of different time-code frame rates.
The frame rate for transmission is selected on the MIDI options page described below.

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MIDI Options

Some further global MIDI settings can be found on the MIDI options page, accessed via the
play mode “more” menu.

Latency matching delay

In a situation where Cirklon is sequencing both hardware instruments connected via the
hardware MIDI, CVIO or drum trigger ports, and virtual instruments running on a PC or Mac
connected via the USB MIDI port, the inevitable audio latency of the virtual instruments will
cause their audio output to be delayed relative to the proper instruments.

To compensate for this, the Latency matching delay setting allows you to delay output to the
hardware MIDI ports, CVIO and drum trigger outputs, in increments of 0.25ms, up to a limit
of 64ms.
Encoder 7 is used to adjust the delay time.
When the port setting is set to all, a global delay value will be applied to all hardware output.

Encoder 6 may be used to select a specific port, which can then have its delay value adjusted
independently of the others. If one or more ports has a different value from the others, the
delay value will be shown as “not =” when port is “all”.

Remote Control MIDI Input

With remote control MIDI input enabled, notes played on a MIDI keyboard will control the
current scene transpose value, and program change messages will select one of the first 128
scenes in the current song.
Turn encoder 8 anti-clockwise from the off position to selection the input port, then use
encoder 9 to set the desired MIDI channel for the remote control source.

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MTC FPS

This setting allows you to choose the frame rate for transmission of MIDI time-code, where it
is enabled for one or more of the MIDI output ports.
All ports must use the same frame rate.
The frame-rate setting is included in the MTC messages, so incoming frame-rate can be
detected automatically.
The out-going frame rate will be changed automatically to match the frame rate received from
an external source.

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8. CVIO and Drum Trig Configuration

The optional CVIO expansion gives you 16 high-resolution control voltage and 8 gate outputs
via a 25-pin “analogue bus” connector on the rear panel.
A further choice of external break-out box (BOB) connected via a multicore cable gives access
to the outputs on 3.5mm or quarter-inch sockets, without concentrating a mass of cables
behind the sequencer itself.

The same pattern types used for MIDI instruments are also used for controlling CV-attached
instruments.
Note, controller and pitch-bend messages routed to a channel of the “CV” MIDI port control
the CV and gate outputs directly through a high-speed internal connection.
The 16 channel range supports independent control of a number of instruments by grouping
their CV and gate outputs on a unique channel.

Each CV output can generate a voltage proportional to the note, velocity or controller values,
or a variable combination of all three.
You can think of the CVIO as a MIDI to CV convertor built into Cirklon, without the
bandwidth limit of a serial MIDI connection.

The drum trigger (or drum mux) module is a further option that provides multiple trigger
pulse and CV outputs for driving analogue percussion synths or drum machines.

Cirklon’s SYNC output is used in an alternate mode to transmit drum trigger data.
The drum mux module receives and outputs the triggers to 16 pairs of 3.5mm sockets.
It also features a DIN SYNC output, so the original SYNC capability can be retained.

Multiple drum trigger modules can be attached in parallel, up to a maximum of 48 separate
trigger outputs.
As with the CVIO, the trigger output is driven by note output to a chosen channel on the CV
port.

CVIO Config

Setting up the CV and gate outputs for use with an instrument is a two-step process.
The first step is to create an instrument definition to route the output of a track to a channel
on the CV port.

The second step is to configure one or more CV outputs to respond to messages on the chosen
channel for the desired control of pitch, gate, etc.

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Let’s work through a basic example –
Synth1 has pitch CV, gate and filter CV inputs.
The pitch CV input is connected to CV output 1, the gate input to Gate output 1, and the filter
CV to CV output 2.

First, you must create an instrument definition, as described in the earlier section “Creating

and Assigning an Instrument”.
Name the instrument “synth1”, set the MIDI Port to “CV”, and MIDI channel to 1.

With the instrument assigned to a track, and a pattern playing, MIDI messages will now be
sent to the CVIO on channel 1.

The next step is to configure the CV outputs to respond to those messages.
This is done from the CVIO Config page:

At the top of this display, the numbers 1 to 16 show which CV output has been selected for
configuration. As shown, output number 1 is selected.
The other outputs can be selected by turning the VALUE encoder.

CV Output Settings

There are two rows of six settings for each CV output.
The row is selected by turning the ROW encoder (or encoder 5).
All values in the selected row are highlighted, and the six encoders below the display used to
adjust the setting above.

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Starting at the lower row, the first three values are note, velo and ctrl.
With these controls, you can mix three different MIDI values into the single CV output at the
same time.
If you want to use an output purely for pitch CV control, as in our example synth1, the note
value should be set to 100%, and both velo and ctrl set to 0%.
For simple velocity or controller to CV outputs, set either velo or ctrl to 100%, and the others
to 0%.

An example of where you might want to mix two different values would be for a synth with a
CV input for filter cutoff.
Mixing some of the note value with velocity or a controller will give you variable filter
keyboard tracking and simultaneous filter modulation.

By default, the gate outputs follow the CV output of the same number.
That is, gate output 1 will turn on when a note is being played on CV output 1, and turn off
when the note is released.
If over-lapping notes are sent to the CV output, i.e. a new note starts before the previous note
ends, the most recent note will take priority.
If the new note is released while a previous note is still held, the CV output will return to the
previous note CV.
The gate setting controls how the gate output behaves when over-lapping notes are played.
Set to norm, the gate output will remain high while any note is being played.
Set to retrig, the gate output will briefly turn off then on again whenever a new note is played,
to re-trigger any envelopes.

The slide settings give a choice of smooth transitions from the CV for one note to the next,
also known as glide or portamento.
There are two slide settings, for mode and time.
There are five choices for slide mode:

off - no slide

a-lin - automatic, linear mode. Auto-slide modes only activate the slide when notes

sent to the CVIO overlap. This can be achieved by playing legato, setting the length of one
note in a pattern so it is held beyond the start of the next note, or by using the P3 pattern TIE
flag.
The linear part means that the change from one CV to the next happens in a straight line, also
known as ‘fixed rate’ slide. The time value determines the time taken to slide over a fixed
range of notes. It will take 12 times as long to slide over a full octave as it does to slide over
one semitone.

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a-exp - automatic, exponential mode. Exponential slide is also known as ‘fixed time’
slide. The shape of the transition from one CV value to the next follows an exponential decay
curve. As the difference between the two notes increases, the initial rate of slide will increase,
with the result that the time taken to slide between two notes is roughly the same, regardless
of the interval between them.

The remaining lin and exp options are as above, but slide is always active.

Moving on to the top row of values:

The first setting is chan – for MIDI channel.
This sets the MIDI channel number that this output will respond to.
For our example “synth1”, this should be set to channel 1.

The range setting defines the range of MIDI notes that this output will respond to when used
for note or velocity output.
The range shown here is from C0 to GX, where ‘X’ is short for octave 10.
This represents the absolute maximum range of CV output possible – 10 and a half octaves,
giving just over 10.5 volts for a 1 volt/octave synth.
The lower note limit for the CV output determines the note which will correspond to
minimum output voltage.
The appropriate range will vary widely for different synths that may be used, so a bit of trial
and error may be required.

The next setting is ctrl#, for controller number.
This is the MIDI CC number whose value will be mixed into the CV according to the ctrl
amount on the lower row.
Alternatively, turning one step before CC #0 will select bend. Pitch-bend will be added to the
CV output according to the amount value. The amount value will be shown in semitones,
rather than percentage depth.

The law setting gives a choice of:

V/oct - volts per octave (Moog / Roland type)
Hz/V - Hertz per volt (Korg / Yamaha type)
gate - allows the use of a CV output as a gate output

As the CV outputs are capable of outputting a higher voltage than the gate outputs, the gate
option can be used to drive synths which need a higher level gate voltage than 5 volts.

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CV Calibration

The Vscale setting is a soft adjustment of the voltage scaling of the CV outputs.
This value is shown on the main CV config page when the V/oct law is selected.
If you switch the law to Hz/V, Vscale is replaced by the Offset value.

Although many synths may use 1 volt per octave in theory, variations in calibration of test
equipment mean that often there are slight differences in scaling between different synths.

The Vscale and Offset settings allow you to adjust each CV output individually to match the
calibration of the connected synth. This saves having to laboriously range and scale each new
synth you use against a common reference.
The CV output by each port is calculated as:

Vout = CV * (Vscale / 10000) + Offset

For a Volts-per-octave synth, the Vscale value alters the octave spacing, and the Offset value
gives an absolute change in pitch.

For a Hertz-per-volt synth, because the CV output follows an exponential curve, the effect of
the two values is swapped – Vscale gives an absolute tuning adjustment and Offset adjusts
the octave spacing.

But you don’t need to worry about the maths, there is an extra page where the correct
calibration values can be found by matching the tuning of two notes against a reference MIDI­connected synth, or by using an external tuner.

In the CVIO config view, you can manually adjust the value by turning the encoder, but this
is slow, and not easily done by ear.
If you press the encoder, you will enter the CV Calibration page:

On the calibration page, the encoders below the display have the following functions:

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encoder 6 – press to play a low C reference note. Repeated presses will toggle the note on
and off. The ‘low C’ label will be highlighted while the note is active.

encoder 7 - turn to adjust the tuning of the low reference note.
This value is used to calculate the shift in absolute tuning needed to bring the synth in tune.
Only the minimum adjustment needed to get to the correct pitch should be used – if you need
to move an octave or more, you should adjust the octave setting of the synth first to get as
close as possible to the starting reference.
The tune value shown is a 4 digit, hexadecimal number. You don’t need to worry what this
means, just adjust the tuning as required.
(the value is the 16-bit digital code being sent to the CVIO digital-to-analogue convertor to
give the current output voltage).

encoder 8 - press to play a high C reference note, two octaves above the low note.
Repeated presses will toggle this note on and off.

encoder 9 - turn to adjust the tuning of the high reference note.
This value is used to calculate the correct octave scaling.

encoder 11 - press this encoder to choose a MIDI-attached instrument on which to play the
reference low and high C notes. Note that an instrument on the CVIO interface cannot be
used.

As you adjust the tuning of the reference notes using encoders 7 and 9, the difference between
the two tune values is used to calculate the correct Vscale and Offset values for the CV output
to give accurate scaling, taking into account the V/oct or Hz/v mode of the output.

You shouldn’t need to worry about the technicalities of this too much, as long as you can get
your synths to play in tune.

When both reference notes are in tune, press the MENU key to return to the main CVIO
Config page, with the new values for the output set.

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Gate Port Settings

To access the settings for the gate ports, turn the VALUE encoder clockwise beyond CV
output 16.
The display should look like this:

Selection of the gate port is made with VALUE as before, and the settings adjusted using the
usual encoders under the display.

The mode setting gives a choice of gate or clock.

The type option sets the electrical behaviour of the output, giving the choice of:

norm 5 volt output when the gate is active, 0 volts when off
S-trig “short-to-ground” (Moog-type) gate output
inverse this gives the opposite polarity to norm, for Yamaha’s CS40M and CS15D

Gate Mode

Gate outputs will usually be linked to the CV output being used to control the pitch of the
attached synth. This is done using the cv-num value, which has a range of 1 to 16.

For example, if you have set up CV output 1 to control the pitch of a synth in response to
notes played, setting gate output 1 to gate mode with cv-num set to 1, gate output 1 will turn
on when a note is played that matches the channel and range setting on CV output 1.

It is also possible to set a gate output to work independently of the CV outs, responding to
any notes played on a chosen MIDI channel.
To do this, adjust the value for cv-num beyond 16 – the label will switch to chan, with
channel numbers 1 to 16 now available for selection.

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Clock Mode

In clock mode, the gate outputs can be used to generate a clock pulse based on a division of
the tempo clock, or a DIN-sync type run or reset signal.

When clock mode is selected the cv-num value is replaced by ppqn (pulses per quarter note).
This sets the clock division for the pulse output between 48 and 1.
Two further values of run and rst give the control signals needed to start or reset an attached
sequencer or drum machine.
Run gives a constant “on” signal when the sequencer is running.
Rst gives a short pulse when playback is started.

Note that the mclk send settings for the CV port must be configured on the MIDI port config
page for clock outputs to work.

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Drum Trig Config

The drum trig config page is used to configure settings for the optional drum mux module.

“Mux” is short for multiplex, which refers to the transmission method used.
The SYNC port is able to switch to an alternate mode where bursts of multiplexed trigger
pulses and accent CVs can be transmitted to one or more drum mux modules.
Each module can output up to 16 pairs of trigger pulses and accent CVs, plus three further
trigger pulses for DIN SYNC output (to replicate the function of the re-purposed SYNC
socket).

The principle advantage of triggering percussion sounds using the drum mux output, as
opposed to connecting them via a MIDI-to-trigger interface, is that the drum mux output has
a much higher transmission speed than MIDI, and uses frame-based synchronisation to
ensure every trigger pulse is tightly synchronised with all other triggers on the same tick.
This gives a clearly audible advantage over MIDI when as few as 4 or 5 sounds are being
triggered at the same instant.

The drum trig config page looks like this:

Select the dmux enable option to switch the SYNC socket to dmux mode.
Once the dmux output is active, normal DIN SYNC devices will no longer respond to the
SYNC output directly.

The CV channel option selects which channel on the CV port the drum triggers will respond
to. The selected channel will no longer route note messages to the CVIO expansion, so make
sure to use a channel that is not already assigned there.

The frame size sets the total number of triggers to be transmitted in each burst.
The drum mux module has 16 accent/trigger output pairs, with a further 3 trigger channels
used for the DIN sync output, so the default frame size is 19.

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The frame size will only need to be changed if additional modules are connected, in which
case you will also need to change at least one setting on the extra modules.
This is described in more detail in the Board Level Config section.

Drum Trigger Map

The trigger map… option takes you to a sub-page like this:

For each trigger and accent output pair, you can select which note will trigger it, choose a
velocity response curve, adjust the trigger pulse length, and set an optional second trigger
note.
Select the output to configure using encoder 6, then edit the values with the encoders below
each column.

Any changes made on the trigger map page apply immediately.
To return to the main drum trig config page, press the MENU key.

There are two velocity curve options.
Curve 1 has a higher minimum voltage, rising linearly to the maximum voltage output.
Curve 2 has a lower minimum voltage rising to a lower maximum.
These curves were designed with two typical applications in mind, others may be added in
future if required.
Select the curve which best suits the attached drum sound when triggered over the full range
of velocity.

The pulse length is specified in eighths of a millisecond (0.125ms steps).
The default pulse length of 16 is therefore equal to 2ms.
The maximum length is 240, equivalent to 30ms.

Turning the length value as if to select zero will select “gate” mode, where the trigger output

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will act as a normal gate, with the pulse length controlled by note length.

Although the pulse lengths are stored internally in Cirklon’s memory, it is the drum mux
module which controls the precise timing of the trigger pulses, so it also holds the pulse
length configuration in EEPROM.
As you adjust the pulse length values, a message is sent to the drum mux module to update
its internal setting.
This may briefly disturb the transmission of the normal trigger pulse bursts.

DIN SYNC Output

Scrolling to the end of the default trigger map settings, you’ll see outputs 17, 18 and 19
mapped to special non-note values of D-run, D-cnt and D-clk.

These last three outputs are the signal pins of the SYNC OUT port on the dmux module:

With their default mapping to the D- values, the sync output will transmit DIN SYNC
following the MIDI clock on the CV port.
Make sure mclk send is enabled for the CV port in MIDI port config.

If you don’t need DIN SYNC, these three outputs may be used as extra trigger outputs when
mapped to notes, however they will not respond to velocity.
The D- options are found at the end of the note range, after G X (G 10)

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Refresh Pulse Lengths

Although any new pulse length value for an output is sent to the dmux module as it is
changed, this option can be used to force an update of all stored values according to the
current settings held in Cirklon’s memory.
It is strongly recommended that you run the refresh plengs function after loading a different
dmux configuration file from flash or card.

Board Config

The board config page is used to configure the unique settings for each drum mux module in
a multiple module setup.
The options here send configuration commands that all connected modules will respond to,
so it is important to only connect the unit to be configured while using this page:

Note that the drum mux output is purely one-way - there is no way for the current settings to
be read back from a module.
The most recently used settings will always appear in the config page, even if you have
connected a different module.

In order to use multiple modules, the “frame size” (on the main drum trig config page) must
first be increased to match the total number of trigger outputs, up to a maximum of 48.
Each drum mux module must then have its frame start pos value set to determine the unique
range of triggers it will respond to.

Let’s look at adding a second drum mux module, where the first module has the default
frame start pos = 1, trig count = 16 and DIN output enabled.

The default frame size of 19 is made up of the 16 accent/trigger pairs plus the 3 triggers used
for the DIN output on the first module.

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The frame start pos for the second board should therefore be 20.
You would set the value to 20 on the board config page, then use the [send to board] option
to update its configuration.

You may choose to use fewer than the maximum 16 of the trigger outputs using the trig count
option.

You can choose whether to output DIN SYNC from the second module by setting the DIN
aux enable option.
This option must be enabled to use the DIN output either for DIN SYNC, or for extra note­triggered outputs.

The output numbers for the 3 pins of the DIN output will always follow the last normal
trigger output set with the trig count value.
For example, if trig count is set to 8 with DIN aux enable on, the three DIN pins will be
triggers 9, 10 and 11 for that module – the 3.5mm trigger and accent outputs 9 to 16 will be
inactive.

Assuming both modules will use all 16 outputs and send DIN SYNC, the total frame size
should be set to 38.
The first module will respond to trigger numbers 1 to 19, the second to trigger numbers 20 to

38.
The additional trigger settings will become accessible on the trigger map page as soon as the
frame size is increased.

Once configured with the correct frame start pos, each board will respond to pulse length
adjustments according to its own trigger number range.
The pulse length values are edited with all modules connected.

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9. Track values

Track values are user-configurable controls with a variety of uses.
Although you add and use them entirely on the TRACK page, they are stored as part of each
instrument definition. Once a track control has been added to an instrument, it will appear
on any track to which that instrument has been assigned.
There are two types of track values:

Track MIDI values let you control parameters on your instruments by sending MIDI
controller messages.

Track control values give access to internal settings that dynamically alter pattern playback.

Adding a track MIDI value

A track MIDI value can send any MIDI CC or a program change message.
They can be used for real-time control, and can also be saved for the current SONG, or
SCENE.
Stored values will be sent when a song is first recalled, or at the start of chosen scenes.

The track values appear on a sub-page of the TRACK page, called (unsurprisingly) the track
values page.
You access this page by pressing TRACK when you are already on the TRACK page.

Before you have added any track values for the instrument assigned to a track, the track
values page will look like this:

The display is divided into six ‘slots’ that can each hold a track value. The encoders under the
display are used to edit the actual values while on this page, and the six encoder LEDs light
red as a reminder of this.

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The selection highlight shows the current slot position – this is where any new value will be
added. The highlight above is on slot 1.
The INSERT key is used to add a new value (or to change or remove an existing value).

Let’s add a track MIDI value by pressing INSERT. This page should appear:

The top line shows the track value will be added to the instrument “synth1”, in slot 1.
Press ENTER to open the select list for the value type:

Then press ENTER again to pick a CC number: