Teenage engineering OP-1 User Manual

VERSION 1.2

Warnings

Warranty & FCC

Warnings & Important Notes

Before connecting this unit to other devices, turn off
the power to all units. This will help prevent

malfunctions and/or damage to speakers or other
devices. If you need to connect/disconnect wires

during use, ALWAYS make sure to connect the cable
to the OP-1 first. Never connect the 3.5mm plugs

going from the OP-1‘s mic input or line output to a
mic input on a sound card with phantom power

active. This could destroy the ports on the OP-1. Be
sure to charge the unit using only 5V USB power,

such as that from the USB ports of a computer, or by
using a dedicated USB charger. Make sure you

always have the OP-1 placed so it is level and sure to
remain stable. Never install or use the unit in any of

the following locations:

Humid environments or baths and washrooms.

•
Safety-critical applications.

•
Nuclear facilities and weapons systems.

•
Aerospace applications or environments for

•
automotive installations.

Store small parts out of the reach of children and
infants. If accidentally swallowed, contact a doctor

immediately.

Warranty and return policy

The OP-1 is fully factory tested and comes with a 12
month (from purchase date) warranty. This does not

include malfunction due to misuse of the device,
such as being dropped, crushed or used in an

application of inappropriate voltages to the device’s
connectors or improperly designed or executed

modifications. In particular, you are the sole
responsible for damage caused by a charging

method other than 5V USB power. The general
warranty policy does not cover ESD (static discharge)

damaged products due to improper handling.

The warranty does not cover shipping charges.

Make sure to read the Terms & Conditions here:
http://teenageengineering.com/terms-and-conditions

FCC ID: Z23TE2A1

IC: 9915A-TE2A1
This device complies with Part 15 of the FCC Rules.

Operation is subject to the following two conditions:
(1) this device may not cause harmful interference,

and (2) this device must accept any interference
received, including interference that may cause

undesired operation.

This device complies with Industry Canada licence­exempt RSS standard(s). Operation is subject to the

following two conditions: (1) this device may not
cause interference, and (2) this device must accept

any interference, including interference that may
cause undesired operation of the device.

FCC NOTE:
This equipment has been tested and found to comply

with the limits for a Class B digital device, pursuant to
Part 15 of the FCC Rules. These limits are designed to

provide reasonable protection against harmful
interference in a residential installation. This

equipment generates, uses and can radiate radio
frequency energy and, if not installed and used in

accordance with the instructions, may cause harmful
interference to radio communications. However,

there is no guarantee that interference will not occur
in a particular installation. If this equipment does

cause harmful interference to radio or television
reception, which can be determined by turning the

equipment off and on, the user is encouraged to try
to correct the interference by one or more of the

following measures:

Reorient or relocate the receiving antenna

•
Increase the separation between the equipment

•
and receiver.

Connect the equipment into an outlet on a circuit

•
different from that to which the receiver is

connected.
Consult the dealer or an experienced radio/TV

•
technician for help.

The manufacturer is not responsible for any radio or
TV interference caused by unauthorized modifications

to this equipment. Such modifications could void the
user's authority to operate the equipment.

TOC

OP-1 Operator’s Manual

運営マニュアル

Benutzerhandbuch
Mode d’Emploi

©2010-2012 Teenage Engineering. All rights
reserved.

Table of Contents

1 Hardware - Overview

1.1 Power On/Off

1.2 Charging the Battery

1.3 In- and Outputs

1.4 OP-1 Side View

2 Layout

2.1 Keys and Knobs

2.2 LEDs

3 Musical Keyboard

3.1 Playing a Sound

3.2 Octave Shift

4 Main Modes

4.1 The Four Main Modes

4.2 Using SHIFT + Any Main Mode

4.3 Main Mode Screen Examples

7 Sequencers

7.1 Sequencers - Introduction

7.2 Selecting a Sequencer Type

7.3 ENDLESS Sequencer

7.4 ENDLESS Functionality

7.5 PATTERN Sequencer

7.6 PATTERN Functionality

7.7 TOMBOLA Sequencer

7.8 TOMBOLA Functionality

7.9 FINGER Sequencer

7.10 FINGER Functionality

8 Tape Mode

8.1 Tape Mode - Introduction

8.2 Record To Tape

8.3 Overdubbing

8.4 Rewind And Fast Forward

8.5 Jump To the Start of Tape

8.6 Jump To the End of Tape

8.7 Reverse Playback

8.8 Recording Level

8.9 Tape Editing

8.10 Advanced LIFT

8.11 Changing Tape Speed

8.12 Advanced Recording Techniques

8.13 Tape Tricks

8.14 Erasing Tape

8.15 Backing Up Your Tape

8.16 Bars

5 Synthesizer Mode

5.1 Synthesizer Mode - Introduction

5.2 Synthesizer Engines

5.3 Envelope

5.4 Play Mode

5.5 Synthesizer Effect

5.6 Synthesizer LFO

5.7 Change Sound

5.8 Saving a Sound

5.9 Sound File Structure

6 Drum Mode

6.1 Drum Mode - Introduction

6.2 DRUM Sampler Engine

6.3 Laying Out A Drum Kit

6.4 Dynamic Envelope

6.5 Importing Your Own Sounds

6.6 Using OP-1’s Standard Layout

6.6 DBOX Drum Engine

9 The Mixer

9.1 Mixer - Introduction

9.2 Sound Path

9.3 Mixer

9.4 EQ

9.5 Master Effect

9.6 Master Out

10 Tempo

10.1 Tempo - Introduction

10.2 Setting the Tempo/Tap Tempo

10.3 Using the Metronome

10.4 Free Mode

10.5 Beat Match

10.6 Sync Mode

TOC

(Continued)

11 Help

11.1 The Help Button

11.2 Tools

11.3 Battery Level

12 Recording External Sources

12.1 Using the Mic/Input Key

12.2 Mic/Input Key in Synth Mode

12.3 Mic/Input Key in Tape Mode

12.4 Sampling Using The Built in Microphone

12.5 Creating a Drum Kit From FM Radio Waves

13 Song Rendering and Connectivity

13.1 Album

13.2 COM

13.3 OP-1 Mode

13.4 CTRL (Controller) Mode

13.5 DISK Mode

13.6 OPT (Option) Mode

13.7 Sequencing External Equipment

13.8 Controlling Ableton Live

13.81 Mac OS X Install

13.82 Windows Install

13.83 Finalize

13.84 Ableton Live Key Assignments

13.9 Controlling Propellerhead Reason

16 Exercises

16.1 Recreating Sounds

16.2 Starting Out

16.3 Helicopter Sound

16.4 Singing Birds Sound

17 Reference

17.1 Synth Engines

17.2 Effects Reference

18 Hardware

14 SHIFT Key

14.1 SHIFT Key

14.2 Change a Single Module

14.3 SHIFT + Main Mode Keys

14.4 SHIFT + Arrow Keys

14.5 SHIFT + Encoders

15 LFO Reference

15.1 Element LFO Mode

15.2 Random LFO Mode

15.3 Tremolo LFO Mode

15.4 Value LFO Mode

15.5 The MIDI LFO Mode

15.6 Crank LFO Mode

15.7 Bend LFO Mode

15.8 Additional Symbols Used in LFO Mode

Introduction

Dear user,

Thank you for choosing the OP-1 musical instrument.
This device is precision made to last many years and

designed to be practical, intuitive and to give you
hours of creative pleasure. To get the most out of

your new OP-1, be sure to read this operator’s
manual carefully. For even deeper understanding and

the latest pro tips, please visit the OP-1 community
website http://ohpeewon.com

- Teenage Engineering

About this manual

This manual is written more or less with one chapter
for every key you find on your OP-1 (except the

musical keyboard which counts as one).
You create sounds (using the Synthesizer or Drum

Mode keys) that you may also Sequence before you
record to TAPE and finally MIX. You also have the

option to record a final mix to ALBUM.

Quick Guide Overlay

The OP-1 comes with a transparent overlay for quick
reference of the keyboard layout. Keep this for future

reference.

Rubber bands

You may use the PaperFoam box in which your OP-1
came delivered as a temporary storage box. Use the

rubber bands to seal the box.

To make things easier, all keys, encoders and
important modes relevant to the current page are

marked on the OP-1 illustration in the page header.

Although the OP-1 is designed to be very intuitive,
reading this manual will give you a deeper

understanding of the concept behind many of OP-1’s
functions and modes. Anyway, don’t be afraid of

playing around and exploring. You can always come
back to this manual at a later stage.

What’s in the Box?

Check that the following items are included when
you open the box: OP-1 Unit, USB Cable, Quick Guide

Overlay and a Set of rubber bands.

USB Cable

The OP-1 uses a standard USB to mini USB cable for
charging the OP-1 and for transferring data between

your OP-1 and your computer.

If you want to use an external power adapter instead
of a computer for charging the battery, make sure

you are using a 5V USB standard charger. A
dedicated charger works more efficiently and will

charge the battery faster.

Quick Guide

Power on

Make sure that your OP-1 is fully charged. If not,
insert the USB cable into the USB port located on the

right side of your OP-1 and connect it to a computer
or to a USB power adapter.

Turn on your OP-1 by sliding the white power switch
located next to the USB port towards you. The

Teenage Engineering symbol will be displayed briefly
on screen. Turn up the volume using the white knob

located on the left side of the screen (clockwise
increases volume). You are now ready to play your

new instrument.

Playing a synthesizer sound

Press the Synthesizer key. Select a
synthesizer sound by pressing any

key from 1-8. (These keys 1-8 are
called Sound selection keys in this

manual). Press any key on the
Musical Keyboard.

Using the mixer

First make sure that you have
some recorded material on the

tape.

Press the MIXER key to open up
the Mixer view. Now press the

PLAY key to start playing the tape.

Depending on which track that contains recorded
material, the corresponding VU meter will indicate

the sound level.

Adjust the individual track level by turning the color
related knob.

Hold down the SHIFT key while turning the color
related knob to adjust the PAN for each track.

Congratulations! You have learned the basic
fundamentals of your OP-1. To understand all of your

OP-1’s functions, please read this operator’s manual
carefully.

Playing a drum sound

Press the Drum key. Select a drum
sound by pressing any Sound

selection key from 1-8. Press any
key on the Musical Keyboard.

Recording to tape

Press the TAPE key.
Select TRACK by pressing any of

the 1-4 keys located under the
screen. (These keys are called T1-

T4 in this manual). Press REC +
PLAY to start rolling tape.

Play the Musical Keyboard. Use the STOP key to stop
recording. Rewind to the starting point by pressing

and holding the REWIND key. Now press PLAY to
listen to your recording.

A good way to start is to follow the Quick guide
printed on the plastic overlay that comes with your

OP-1.

1

Hardware Overview

1 Hardware - Overview

1.1 Power On/Off

To power on your OP-1, slide the white power switch
located on the right side of the device towards you.

The display will light up and the OP-1 loads necessary
system data.

To power off, slide the power switch away from you.
Data is always stored on-the-fly, so you don’t have to
worry about saving your sound or recordings.

Everything will still be there the next time you power
on your OP-1 exactly the same as when you left it.

NOTE: To adjust the input level press SHIFT + Mic
key. To adjust the output level, turn the volume knob

or set the master L/R level output located in mixer T4.

1.4 OP-1 Side view

For strap

3.5 mm
Audio Out / Headphones

3.5 mm
Audio In

NOTE: The more samples or other data you store on
your OP-1, the longer the start-up process will be. It’s
a good habit both for start-up time and for safety to
back-up and clear your OP-1 occasionally.

1.2 Charging the Battery

The first thing you should do is to connect your OP-1
to a computer (or optional charger) via the USB port
located on the right side of the unit. Make sure to
keep your OP-1 connected until you have fully
charged the internal battery. This will be indicated by
the same LEDs used for the VU meter.

To check the battery level, press the Help key. The
LEDs will light up to indicate the level. Five lit LEDs is
equal to a fully charged battery.

1.3 In and Outputs

OP-1 has three ports located on the right hand side of
the unit.

USB for Charging the
battery, for transferring
files and for MIDI

Off

Power switch

On

For strap

If you turn your OP-1 upside down, you will find
symbols and braille text that indicates I/O location.

• Audio in/Line in

• Audio out for headphones/line out

• USB port for charging, transferring files and MIDI

2 Layout

2.1 Keys & knobs
The layout of the OP-1 is divided into different groups

for easy reading and intuitive workflow.

Turn the Volume
knob to set the
master volume.

Speaker Volume Display Color Coded Encoders

Main Modes Help Tempo

Sound 1 - 8 / Tape tricks

T1 - T4

The four color encoders are related to
the graphical interface on the display.
A green graphical element or text hints
that the green encoder will change its
value or position.

2

Layout

Mic / Input

Album / Com

Ta pe ed i ts

Ta pe
Transport

ShiftRewind / Forward
Octave shift +/­Step Forward / Back

2.2 LEDs

On the right side of your OP-1 you find the built in
Microphone and VU/Battery LEDs

Built in

Microphone

Sequencer

Musical Keyboard

VU/Battery

indicator

3 Musical Keyboard

3.1 Playing a Sound

Press any key on the musical keyboard and you
should instantly hear a sound. If it is silent, turn

up the master volume located next to the speaker,
or press the Synthesizer or Drum key.

3

Musical Keyboard

PRO-TIP: Press and hold HELP
while playing the musical keyboard

to let your OP-1 display the current
note.

3.2 Octave shift

Use the Arrow keys to transpose
octave while in Synthesizer or

Drum mode.

NOTE: Before you start creating your first
masterpiece, read this manual carefully to avoid

deleting or over-recording your work.

4 Main Modes

4.1 The Four Main Modes

4

Main Modes

4.3 Main Modes Screen examples

Your OP-1 is designed to be easy to use, so the most
important functions are located on the first keys to

the left on the upper row. The four keys are grouped
together and are called Main Modes.

The four main modes are: Synthesizer, Drum, Tape
and Mixer. Each key has a dedicated symbol and
color to make it easy to navigate through the different
screens and to find the appropriate key related to the
currently active mode.

Example: All keys with orange symbols are related to
the Tape because the tape symbol is orange.

4.2 Using SHIFT + any Main mode key

By pressing SHIFT + a Mode key you invoke special
settings or functions for that mode. For Synthesizer
and Drum you undo edits and tweaks that you made
to the sound. For SHIFT + Tape you enter the Tape
erase function.

Synthesizer using String Engine.

Drum using a sample

Tape

SHIFT + Mixer takes you to the Signal Flow screen

Mixer

5

Synthesizer Mode

5 Synthesizer Mode

5.1 Synthesizer Mode – Introduction

OP-1 has several original synthesizer engines. Each
one has its own personality. When in Synthesizer

Mode, the synthesizer engine’s visual is always
located under T1 and is also the first screen that will

show up when you change or select a sound.

Each sound is built up from four modules located
under the T1, T2, T3 and T4 keys, lined up under the

display:

NOTE: The T1-T4 are soft keys,
which means that in Synthesizer
and Drum mode they function as
described here. In Tape mode they
are track keys T1-T4 and in Mixer
Mode they are Mixer (T1), EQ (T2),
Master Effect (T3) and Master Out/
Drive (T4).

To enter Synthesizer Mode, press the key with the
blue wave symbol on it. This enables both T1-T4 and
sound selection keys 1-8.

When you have pressed the Synthesizer key, first
select a sound from 1-8 with the Sound keys:

5.2 Synthesizer Engines

The first module of a sound is its engine. This is the
heart of the sound and is the most important part.

It is possible to change an engine of a sound but
keep the Envelope, the Effect and the LFO or G- force

setting.

To do this, first select the Sound you want to change.
Then use the T1 to T4 keys to select a specific

module.

To change the Engine press SHIFT + T1.
This opens the Browser screen, with the list

of possible Engine choices:

FM – Frequency Modulation synthesis made easy.
This is the type of engine that is found in the classic

DX7 synthesizer.
Cluster – Up to six oscillators chained in a cluster.

Dr Wave – Raw 8-bit style engine.
Digital – Pure digital raw engine.

String – Physical modeling of a string instrument.
Pulse – Square wave engine.

Phase – Phase distortion type engine.

Use the Blue encoder to scroll through the list and
press T1 when your choice is highlighted to exit.

More details on the different Synthesizer engines and
their parameters are available in the Reference

chapter.

Then use T1-T4 keys to shape the sound:

T1 – Synthesizer engine
T2 – Envelope
T3 – Effect
T4 – LFO/G-force

Here follows a description of how a Sound is built up.
For an in-depth description of all individual
Synthesizer engines, the Envelope, Effects and LFO,
please refer to the Reference chapter.

5

(Continued)

Synthesizer Mode

5.3 Envelope

To shape the envelope, press the T2 key.
The envelope controls the amplification of a

sound and is triggered when a note is
played. You can control the attack, decay,

sustain and release. This is called an ADSR

envelope.

Use the four color encoders to shape the Envelope.

5.5 Synthesizer Effect

To add an effect to a sound, press the T3
key. You may toggle an effect on and off by

pressing the T3 key a second time.

To change effect, press SHIFT + T3. This enters the
effect browser screen. Use the Blue encoder to scroll

through the list and press T2 to make your selection.

5.6 Synthesizer LFO

The LFO lets you modulate any Synthesizer Engine,
Envelope or Effect parameter.

Blue – Attack, Green – Decay. White – Sustain.
Orange – Release

This will be indicated by a color change in the
graphical interface as soon as an encoder is turned.

5.4 Play Mode

To enter Play mode press SHIFT while you are in the
Envelope screen which is located under the T2 key. In

play mode, you can select if you want your sound to
be Polyphonic, Monophonic, Legato or Unison.

In play mode, you also have the portamento
parameter setting.

To add an LFO to a sound, press the T4 key.
You may toggle an LFO on and off by

pressing the T4 key a second time.

To change LFO, press SHIFT + T4. This opens a
browser screen, with the list of possible LFOs:

BEND – Lets you use the Bender accessory.
CRANK – Lets you use the Crank accessory.

ELEMENT – Lets you use external elements like the
built in Microphone, Line in, G-force sensor or FM

Radio to modulate a sound. Select the element,
amount, destination and the destination parameter.

MIDI – Route external MIDI CC to the OP-1.
RANDOM – randomize all parameters in a module.

Set the speed, amount, LFO envelope and destination
TREMOLO – Lets you create different types of vibrato

effects to your sound by modulating the pitch and
volume. Set speed, pitch amount, volume amount

and LFO envelope curve. The envelope curve applies
an attack or decay curve to the speed of the LFO.

VALUE – Use this classic LFO type to change one
parameter only. Set amount, speed, destination and

parameter.

5

(Continued)

Synthesizer Mode

NOTE: Turn the ENCODERS all the way for all options
under, for example, destination. The encoders click

when turned, which doesn’t equal changing a value.
Sometimes you need to turn a couple of clicks to

change a value.

Example: ELEMENT LFO

As described earlier the Element LFO uses different
external elements to control any parameter of a
Synthesizer engine, Envelope or Effect. Use the Blue
encoder to select your source. The options are:

G-force

5.7 Changing Sounds

Consider sound selection keys 1-8 as your instant
access keys. To change any of the sound 1-8 presets,

press SHIFT + any key from 1 to 8 and a list of all
available sound presets is shown. Select a preset by

turning the Blue encoder for Engine type and Green
Encoder for Preset choices.

NOTE: The difference between changing just a
Synthesizer Engine (SHIFT + T1) and a Sound (SHIFT

+ 1-8) is that the later changes all four T1- T4
settings.

Mic/Line/Radio

G-force is pretty straightforward, you don’t need to
make any further settings. When selecting option
Mic/Line/Radio, you need to select the input source.
Press SHIFT + Input key to select input and to adjust
the gain. If Radio is selected here you may tune in to
a radio station for satisfactory results.

For more information about LFOs please refer to the
LFO reference section of this manual.

5.8 Saving a Sound

To save a sound, you have two options:

DUMP TO TAPE – Use the LIFT key while in

•
Synthesizer or Drum mode. Then switch to Tape,

locate empty space on the tape and press the
DROP key. The sound will now be converted to

sound-data. To recall a sound that was dumped to
Tape, press LIFT, switch to Synthesizer or Drum and

press DROP.

SAVE SOUND 1-8 – Tweak your sound on any of

•
the sound slots from 1-8. Hold the sound key for

five seconds. Sounds 1-8 are located in the
SNAPSHOT folder located inside the Synth and

Drum folders. Via USB, you may drag the sound
you want to your desktop and rename it, or rename

the sound inside the folder. Keep in mind that you
may use names with a maximum of ten characters.

Avoid uncommon symbols.

PRO-TIP: You may create your own folder and place it
in either Synth or Drum folder to organize your files.

5.9 Sound File structure

(Continued)

The OP-1‘s storage allows you to add files for use for
Synth and Drum sounds. It also lets you collect those

files you have recorded in Tape and Album for use
elsewhere. You may also manage your own presets,

those which you have made in synth and saved.
These are stored in the “snapshot” folders for Synth

and Drum presets respectively, and default to a name
containing their date of creation. Feel free to rename

these, limiting the name to ten common characters.

When you connect your OP-1 to your computer and
press SHIFT + COM key and select DISK mode the

OP-1 shows up on your desktop:

5

Synthesizer Mode

Double click the disk icon to reveal the internal OP-1
files. All Sounds, Album recordings, Tape Tracks and

snapshots show up as .aif files.

NOTE: Sound presets use a special OP-1 version of
the .aif format, which includes BOTH a sound

preview and synthesizer data. In other words, the
OP-1 synthesizer engines are not sample based but

modeled sounds.

6

Drum Mode

6 Drum Mode

6.1 Drum Mode – Introduction

The Drum Mode - entered by
pressing the key with the green

drum symbol - is similar to the
synthesizer mode. The difference is

it’s use for shorter drum/
percussion sounds. Sounds can

be loaded either into the Drum

engine (DRUM), or made using a drum synth (DBOX).

As with Synthesizer mode, pressing the Drum key
enables both T1-T4 and Sound selection keys 1-8.

When you have pressed the Drum key, first select a
sound (drum-kit) from 1-8 with the Sound keys.

Then use T1-T4 keys to shape the sound:

The basic concept here is to record all drums in a row
and keep that recording to 12 seconds. Then set in

and out points of that recording and dedicate it to a
certain key on the musical keyboard.

6.3 Laying out a Drum Kit

To layout a Drum Kit, press any key on the musical
keyboard and start to set the In point of the sound.

This can be anywhere on the sample. Then set the
Out point and hit the same key on the musical

keyboard. You should now hear the part of the
sampling you have dedicated to that key. The tools

you have to set up your drum kit are:

PITCH
Set the pitch of a part by turning the

Blue encoder.

DIRECTION
Press SHIFT and turn the Blue encoder

to change direction of a part.

T1 – Drum engine
T2 – Dynamic Envelope
T3 – Effect
T4 – LFO/G-force

6.2 DRUM Sampler Engine

The difference compared to the Synthesizer sampler
engine is that the Drum sampler has 12 seconds of
recording time (vs. 6 seconds in the Synthesizer
sampler) and has a layout function which lets you lay
out parts of the sample to dedicated keys on the
musical keyboard (compared to different pitch of the
sound when playing the musical keyboard using the
Synthesizer sampler).

IN POINT
Set the in point by turning the Green

encoder.

FINE TUNE IN POINT
Press SHIFT and turn the Green encoder

to fine tune the position of the in point.

OUT POINT
Set the out point by turning the White

encoder.

FINE TUNE OUT POINT
Press SHIFT and turn the White encoder

to fine tune the position of the out point.

PLAY TO END, LOOP, PLAY ONCE
Turn the Orange encoder to set the play

mode of a part.

LEVEL
Press SHIFT and turn the Orange

encoder to set the volume level of a part.

NOTE: Remember to always select the key on the
musical keyboard where you want to change sound.

6

(Continued)

Drum Mode

6.4 Dynamic Envelope

Dynamic Envelope is specially designed for short
drum sounds. Set the attack level with Blue Encoder,

Mid part level with Green Encoder, Release Level with
Encoder and use the Orange Encoder to adjust the

region.

6.5 Importing your own sounds

Simply create a single sound file from whatever
sounds you have chosen. Remember to keep the

audio file maximum 12 seconds long. Then save the
sound as an .aif file. Transfer the file to the User

folder located inside the Drum folder. See chapters

5.8-5.9 on how to transfer files to your OP-1.

6.6 Using OP-1 standard layout

To make sound switching between kits more logical
when you have a sequence running, it’s a good habit

to layout your kits in the same order. The factory kits
are mapped as seen at the bottom of this page.

PRO-TIP: A nice way of creating fill-ins, is to have the
same sequence running and switching between

drum kits based on the same sounds, but mapped
differently. You can also map some keys to silent

parts of a sample to “mute” certain sounds.

6.7 DBOX Drum Engine

DBOX, short for DRUMBOX, is a dual oscillator
synthesizer, convenient for producing drum sounds.
Blue encoder adjusts pitch, Green encoder adjusts
waveform, White encoder adjusts envelope. Hold
SHIFT to access secondary oscillator. Orange
encoder is used for Cross Modulation and, when
SHIFT is pressed, Filter cutoff frequency.

Saving a sound is achieved by holding a Sound key
(1-8) for five seconds, similar to elsewhere on the
OP-1. The sound will be saved in Snapshot.

Kick Alternative

Kick

Snare

Snare Alternative

Rimshot

Hand Clap

Tambourine

Closed Hi-hat

08

09

Open Hi-hat

10

11

Ride cymbal

Crash cymbal

12

13

14

Bass 1

Bass 2

Bass 3

Bass 4

Bass 5

7 Sequencers

7.1 Sequencers – Introduction

OP-1 comes with four original
sequencers that let you arrange

notes in different ways. Both
Synthesizer and Drum mode have

their own dedicated sequencer
memory and can have separate

types active, even though only one

can be played at a time.

The big difference between the Tape and a Sequencer
is that Tape produces a pure audio recording, while a

Sequencer stores note data. One of the reasons for
using a Sequencer is that you may change or alter

the sound but continue playing the same stored
notes.

7.2 Selecting a Sequencer Type

7

Sequencers

7.4 Endless Sequencer Functions:

INSERT NOTES
To Insert a note, press SHIFT + any key on the

musical keyboard. Keep holding down SHIFT until
you are done with ALL notes you want to insert.

INSERT LONG NOTES
Press SHIFT + any key on the Musical Keyboard.

Continue to hold the keys while pressing the Forward
Arrow key (>).

To select Sequencer type press SHIFT + the
sequencer key to enter the Sequencer Browser
screen. Turn the Blue encoder to make your selection,
then press the Sequencer key again to exit.

7.3 ENDLESS Sequencer

Endless is a very effective way to get sequencing
done quickly. Just hold SHIFT + press any key on the
musical keyboard to store a note. It automatically
moves one step forward when you release the key.
Hold SHIFT until you are done. Then release SHIFT
and press any key on the musical keyboard to play
your sequence. The maximum number of notes that
can be stored is 99.

INSERT SPACE
Press SHIFT + the Forward Arrow key (>).

TO DELETE LAST NOTE
Press SHIFT + the Rewind Arrow key (<).

PLAY A SEQUENCE
To play a sequence just press any key on the Musical

Keyboard. The pitch of the played notes will change
depending on what key you press. This is called Key

Transposition. To play the original pitch of the notes
play the C key on the Musical Keyboard.

C

PLAY AND HOLD A SEQUENCE
Turn the Orange Encoder until HOLD lights up.

7

(Continued)

Sequencers

CHANGE PLAYBACK DIRECTION OF A SEQUENCE
You have three different options for how you want the

notes to be played back. Forward, Reverse or
Random. Change direction by holding SHIFT and turn

the Orange Encoder.

SET NOTE LENGTH
Note length is basically a way to define how many

notes (beats) that will be played in one bar. This is
related to the Master Tempo that you set in Tempo

and to the bars in Tape mode. If you set 1/16, one bar
in tape will be 16 notes or beats. Change note length

by turning the Blue encoder.

SWING
Swing is a way to slightly alter the timing of notes

played in a sequence. To add swing turn the Green
encoder. No swing is a 50% setting.

NOTE: Remember to check if you have applied swing
when you record multiple layers of sequenced

material to tape if you want them to be in absolute
sync.

NOTE: In Endless, you may use the arrow keys to
change octave in playback mode.

7.5 PATTERN Sequencer

Pattern is a classic grid type sequencer found in
many hardware and software instruments. This is a

16 step sequencer, particularly useful for sequencing
drum patterns.

7.6 Pattern Functions

INSERT NOTES
To Insert a note press SHIFT + any key on the

Musical Keyboard. Keep holding down SHIFT until
you are done with ALL notes you want to insert.

ERASING NOTE
Hold down SHIFT and turn the Blue encoder.

APPLY A PATTERN TO YOUR SEQUENCE
The Endless sequencer has a function which lets you

add a pattern to your sequence. Turn the White
Encoder to apply a pattern. A single dot means

there’s no pattern applied. (turn the White encoder
counter clockwise all the way until only a single dot is

shown)

ROTATE A PATTERN
By holding SHIFT + turning the White encoder, you

can rotate the dots within the pattern.

CRANK MODE
SHIFT + Blue encoder activates Crank mode, which

gives you manual, music-box style playback control.

MOVING THE VERTICAL CURSOR LINE
Press Arrow keys or turn the Blue encoder to move

the horizontal cursor line, by doing this you also
select which note you want to focus on when

erasing.

SWING
Swing is a way to slightly alter the timing of notes

played in a sequence. To add swing turn the Green
encoder. No swing is a 50% setting

NOTE: Remember to check if you have applied swing
when you record multiple layers of sequenced

material to tape if you want them to be in absolute
sync.

ROTATE NOTES
Hold SHIFT + turn the Green encoder to rotate all

notes. This might be good when you have entered
the notes in Live Mode.

7

(Continued)

Sequencers

LIVE MODE
Turn the Orange Encoder until HOLD lights up. The

sequencer starts, and the white horizontal cursor
moves across the sequence. Press SHIFT + any key

on the Musical Keyboard to insert a note at the
current cursor position.

LIVE EDIT MODE
Press SHIFT + any Arrow key while the sequencer is

running to break the cursor connection and let you
edit the notes as you would in normal stopped mode.

SET SEQUENCE LENGTH
Turn the White encoder to adjust the playback length

of the sequence.

MOVE SECTION
If you hold SHIFT + turn the White encoder you may

move the played back section around within the
sequence. Great for fill-ins!

PLAY AND HOLD A SEQUENCE
Turn the Orange Encoder until HOLD lights up.

7.7 TOMBOLA Sequencer

Use Tombola when you want to create a random
sequence. Just throw a couple of notes into the

Tombola and then set the gravity, mass and spinning
speed. The harder/faster a note bounces the louder

the sound will play.

7.8 Tombola functions

DROP NOTES INTO TOMBOLA
Play any key on the Musical keyboard to drop a note

into the Tombola.

NOTE: To key transpose a Pattern sequence, switch
to Synthesizer, Drum, Tape or Mixer mode and press

any key on the Musical Keyboard. To play the original
pitch of the sequenced notes, play the C key on the

Musical Keyboard.

C

CHANGE PLAYBACK DIRECTION OF A SEQUENCE
You have three different options for how you want the

notes to be played back. Forward, Reverse or Cycle.
Change direction by holding SHIFT and turn the

Orange Encoder.

ADJUST BOUNCINESS
Turn the Orange Encoder to adjust the bounciness of

the notes. The harder a note hits the wall of the the
Tombola the louder it will play. This is measured in

amount of mass.

ADJUST HEAVINESS
This is measured in amount of Gravity. Turn the Green

Encoder to set the gravity.

7

(Continued)

Sequencers

RELEASING NOTES
Turn the White Encoder to open the Tombola and

release the notes.

TOMBOLA SPEED
Turn the Blue Encoder to adjust the speed and the

direction of rotation of the Tombola.

CRANK MODE
Engage Crank using SHIFT + Blue encoder. You may

now spin the Tombola by hand, just using Blue.

PRO-TIP: Keep the Tombola open and set a high
rotation speed. This creates a random type of echo

effect.

7.9 FINGER Sequencer

7.10 FINGER Functionality

When Finger is activated for Synth, two keyboard
players appear. When used with Drum, there are two

gorillas. Each sequence, activated by pushing a white
key on the Musical Keyboard, is populated by crosses

by default. Press and hold a key on the Musical
Keyboard to commence playback. Depending on

which playback mode you are using (chosen using
SHIFT+Orange encoder), pushing a second key on

the Musical Keyboard will now either layer a second
pattern (JOIN), play when you release the previous

one (REPLACE), or play fill ins (FILL IN). Using the
Orange encoder allows you to turn HOLD playback

mode on for Finger.

INSERT NOTES
To insert a note press SHIFT + any key on the Musical

Keyboard.

MOVING THE CURSOR AND ERASING NOTES
Blue encoder moves the box cursor inside the

sequence. Hold down SHIFT and turn the Blue
encoder to erase while moving the cursor.

SET SEQUENCE LENGTH
White encoder adjusts the length of a pattern.

The Finger Sequencer lets you play two sequences in
combination with one another. Finger works the

same in Synth and Drum modes (animations differ).

Each white key on the Musical Keyboard represents a
pattern. Each pattern is visualized as the top middle,
checkered rows. Each checked row may be filled with
either Synth notes or Drum triggers. You will
recognize notes and trigs as the small white crosses.
The Green dot represent the pattern’s swing setting.

SWING
To add swing turn the Green Encoder. No swing is a

50% setting.

NOTE: Remember to check if you have applied swing
when you record multiple layers of sequenced

material to tape if you want them to be in absolute
sync.

8

Tape Mode

8 Tape Mode

8.1 Tape – Introduction

Your OP-1 has a built in tape
feature with 6 minutes of recording

time (in normal tape speed and

44.1 kHz/16 bits). It has 4 individual
tracks. To enter the Tape Mode

press the Tape key with the orange
tape symbol on it.

6. Play the Musical Keyboard.

7. Press STOP when done.

8. Press Rewind (left arrow) to rewind the tape.

9. Press Play to listen to your recording.

8.3 Overdubbing

The Tape always overdubs if there’s recorded material
on the same track. To avoid overdubbing, lift any pre-

recorded takes out from the tape location.

8.4 Rewind and Fast Forward

Use the arrow keys to rewind and fast-forward the
playback of the tape.

8.5 Jump to the start of the tape

This mode changes the function of T1-T4 which now
become track 1-4:

The Sound selection keys change into Tape Tricks 1-8:

8.2 Record to tape

1. Select the sound which you want to record.

2. Press the Tape key to enter Tape Mode.

3. Select a track to record to by pressing any of the
track keys T1-T4.

4. Set recording level with the Orange encoder. (This
is also the main level for Synthesizer and Drum

sounds).

5. Press REC + Play to start recording.

Press STOP + Left Arrow key to jump to the very
beginning of the tape.

8.6 Jump to the end of the Tape

Press STOP + Right Arrow to jump to the end of the
last take on the tape.

8.7 Reverse Playback

To play the tape reverse you have two choices:

Press SHIFT + Play.
Press the Reverse Tape Tricks Key when the tape is

rolling.

8.8 Recording Level

Turn the Orange encoder to set the recording level.

8

(Continued)

Tape Mode

8.9 Tape Editing

First select the track you want to edit. Recorded
material shows up as grey lines and is referred to as

takes. When an active track has recorded material,
the lines turn orange. To edit a take, use Scrub,

Rewind, FF or press STOP to center it under the tape
head:

of the active one. You may repeatedly use Join to
join multiple takes.

REGION LIFT – Use the loop in and out points to
define the part you want to lift.

8.10 Advanced LIFT

Besides recording, the tape can also be used as a
sketchpad for creating layered sounds. Using the

tape this way let’s you build up a sound layer by layer
on all four tracks and lift it (use LIFT ALL to lift all

tracks) and then drop it in either the Synthesizer
sampler or Drum sampler.

You may also save a sound to tape by pressing LIFT
in any of the Synthesizer or Drum sounds and then

select Tape mode and press Drop. This creates a data
recording of all parameters and/or samples on the

active tape track. To recall the sound, lift it from tape
and drop it back into any sound from 1-8. For this

function to work, the take has to be exactly the same
and an isolated take as it was when it was dropped.

A take turns blue when it’s in position and ready for
editing or moving. These are the editing actions for

an active take:

SCRUB – Use Blue encoder to scrub though the
tape.

SLIDE – Use SHIFT + Blue encoder to slide a take.
You may slide a take until either of its start or end
point interferes with another take.

LIFT – Press the Lift key (Arrow up) to lift a take.
The take is now in the memory. To undo press the
Drop Key to place it at the center of the tape head.
You may repeatedly press the Drop key to paste
multiple takes. The tape moves each time to the
end of a dropped take. Lift is also used as a way to
delete a take.

DROP – Use this as way to place the last take
stored in memory.

SPLIT – This splits a take.

8.11 Changing Tape Speed

You may change the speed of the tape whenever you
want, even during recording. To do this, turn the

White encoder. If you hold down SHIFT and turn the
White encoder the tape speed is changed in fixed

steps. The sound quality changes in the same way as
a real tape when changing speed – the faster the

tape speed, the higher the quality of the recording.

8.12 Advanced Recording Techniques

A quite special recording technique is to put the tape
in Rec Arm mode and control the speed manually. To

do this press SHIFT + Rec. You are now recording but
the reels are still. To move the tape back and forth,

turn the Blue encoder. Depending on how quick you
turn the encoder the pitch of the recording will vary.

Another great recording trick is to turn the out-to-in
function on, found under the Mic key. This let’s you

record everything you hear to a selected track. This
also works as a bounce recording function.

LIFT ALL – Hold down SHIFT + Lift to lift all tracks
into memory.

JOIN – Press SHIFT + Split to join takes. This
function joins the next closest take on either side

A nice option for additional recording control is using
the OP-1 accessory Crank. This will give you music-

box-style control over your Tape recording.

8

(Continued)

Tape Mode

8.13 Tape Tricks

When in Tape (or Mixer mode) the sound selection
keys 1-8 turns into Tape Tricks keys:

The Tape Tricks are shown under numbers 1-8.
Tape Tricks are a collection of functions made to

interfere with the Tape or the Mixer in different ways.
They are implemented to open up for live tweaks and

quick key mixing effects.

LOOP IN – Sets the loop in point of the tape.

LOOP OUT – This sets the loop out point.

LOOP TOGGLE – Toggles loop on and off.

BREAK – Stops the tape. If a loop is active it
will continue in the background to keep the

break in time.

8.14 Erasing Tape

To completely erase the tape and all recorded
material, press SHIFT + Tape key. For good reasons

you have to press all T1-T4 keys to start the erasing
process.

Once all keys are pressed there’s no way back. Your
tape will be wiped forever.

REVERSE – Change direction of the tape.

CHOP – A tempo locked repeat type of
effect.

MEMO 1 – Memorize any parameter in Tape
or Mixer for instant recall. To use this, hold

down the key and turn any encoder while in
Tape or Mixer screen. Release key when

done. Press the key again to instant recall
the changed parameter. This is great for

switching between different EQ settings or
to turn up the effect level when the tape is

running.

MEMO 2 – Memorize any parameter in Tape
or Mixer for instant recall.

NOTE: Connect your OP-1 to your computer and
transfer the Tape if you want a backup or need to free

up space.

8.15 Backing up your Tape

(Continued)

To backup your tape, connect your OP-1 to your
computer and press SHIFT + COM. Select Disk

Mode. The OP-1 will show up on your desktop as a
disk.

Locate the folder named “tape” and copy the files
named “track_1.aif”, “track_2.aif”, “track_3.aif”,

“track_4.aif”. Drag all track files to your computer’s
desktop.

8

Tape Mode

You have now made a backup of the Tape as four
individual audio tracks.

NOTE: No Mix, EQ, Master effects or Drive will be
applied to individual Tracks when exported. To make

a final mix of your Tape, record to Album and backup
the Album file. The album file will be located in

Album, “SideA.aif” or “SideB.aif”

8.16 Bars

When Beat Match is selected in Master Tempo,
you’ll notice bar markers just above the tape tracks.

One bar is 16 beats which means if you enter 16
steps in the Endless step Sequencer and set it to 1/16

and record it, it will fit exactly in one bar on the tape.

To jump from Bar to Bar, press SHIFT + Rewind (<) or
SHIFT + FF (>)

9

Mixer

9 Mixer

9.1 Mixer – Introduction

Mixer is the final stage of the
sound path. Its main function is to

set the individual level and pan of
the four tape tracks (T1), to adjust

the master EQ (T2), add a master
Effect (T3) and to add drive to your

mix (T4). But as it is also the final

destination for all sound, it should be worth noting
how the sound travels inside your OP-1. This is called

the Sound Path.

9.2 Sound Path

The Sound Path is the way the sound moves from the
moment you hit a key on the musical keyboard or

press play on tape, until it reaches the speaker or line
out. To help you keep an eye on this, there is a Sound

Path screen in Mixer mode that you may check at
anytime. To enter the Sound path screen, press

SHIFT + Mixer key.

In the Mixer main screen, you adjust the individual
level and Pan Left/Right of Tape tracks 1-4

To adjust the level of a tape track turn any encoder to
set the level from 0-99

Track 1 level – Blue encoder
Track 2 level – Green encoder

Track 3 level – White encoder
Track 4 level – Orange encoder

To set the Pan Left/Right

Hold SHIFT + turn the appropriate Encoder for the
relevant Track, to adjust the Pan Left/Right.

9.4 EQ

EQ means equalizer and is the word for a filter that
let’s you adjust the low, mid and high frequencies of

a sound. In the case of the Mixer, for the final mix.
When the sound enters the EQ it comes as a mixed

down stereo signal. (The stereo signal was just mixed
down in the main Mixer screen).

NOTE: A warning symbol will light up when any
critical level is set to zero.

9.3 Mixer

The mixer transforms the four Tape tracks into one
stereo signal. To enter the mixer, press the Mixer key.

Then press T1 to enter the mixer main screen.

Press T2 in Mixer mode to adjust the EQ:

Low (bass) – Turn the Blue encoder to adjust the

•

low frequencies.

Mid – Turn the Green encoder to adjust the mid

•

frequencies.

High (treble) – Turn the Green encoder to adjust the

•

higher (brighter) frequencies.

EQ Amount – Turn the Orange encoder to adjust the

•

overall EQ level. Turn counter clockwise for a clean
signal with no EQ applied.

9

(Continued)

Mixer

9.5 Master Effect

Master effects are the same effects found in
Synthesizer and Drum mode, but modified for stereo.

To add a master effect, press the T3 key. You may
toggle an effect on and off by pressing the T3 key a

second time.

To change the effect used, press SHIFT + T3. This
enters the Master effect browser. Use Blue encoder

to scroll through the list and press any key (except
the musical keyboard) to make your selection.

RELEASE sets how quick the drive will narrow the
difference between high and low audio levels, and at

mid to long release times, you’ll start to notice the
drive as a “pumping” sound.

You may also use drive to add texture and to make
your final mix more dirty and raw.

PRO-TIP: Hold SHIFT while turning the Blue or Green
encoder to adjust both LEFT and RIGHT at the same

time.

9.6 Master Out

The master out screen is found under T4:

Here you adjust:

The master balance Left/Right

•

Add DRIVE

•

Adjust the RELEASE of the Drive

•

DRIVE narrows the difference between high and low
audio levels, and makes the output sound louder and

more compact. At very high levels of drive, the audio
starts to sound distorted.

10

Tempo

10 Tempo

10.1 Tempo – Introduction

In Tempo, you set the master
tempo for all sequencers. You can

switch between Free, Beat Match
and Sync modes, and you’ll also

find the Metronome here.

10.2 Setting the Tempo/Tap Tempo

To set the tempo you have two choices:

Turn the Blue encoder

•

10.4 Free Mode

In Free mode the Tempo and Tape speed are
independent of each other.

10.5 Beat Match

Beat Match is a concept of keeping the Tempo and
the Tape speed in sync. When Beat Match is turned

on, (Turn the Green Encoder until Beat Match lights
up) the current tempo is locked to the Tape speed

and dimmed. This means that you now have to adjust
the tape speed to change the tempo. If you turn Beat

Match on and switch to Tape mode, you’ll notice that
Bars have appeared above the tape tracks. These

Bars are your guidelines when recording in sync. One
bar is 16 beats long. Now, play a sequence and

adjust the tape speed, you will hear the sequence
play slower if you turn down the tape speed, and

faster if you turn tape speed up. However, the pitch
won’t change.

This is the beauty of Beat Match, to have a drum beat
playing using the sequencer and have recorded

material played back from Tape in sync at the same
time. Add some tape tricks to that and you have a

nice live-tweaking set-up.

Tap the tempo – Do this by hitting the tempo key

•

multiple times until you get the desired tempo.

10.3 Using the Metronome

To use the metronome, turn the Orange Encoder until
you get your desired pitch. To start the metronome,

press Play.

PRO-TIP: Record different variations to single bars
and use the arrow keys explained in the Bars section

8.1-8.6 to easily move the playback loop between the
variations.

10.6 Sync Mode

Sync mode means the OP-1 is listening to whatever
external tempo you may be feeding it via USB. This

lets you slave tempo lock the OP-1 to MIDI Time
Code (MTC) sent from external sequencers.

11 Help

11.1 The Help Button

Your OP-1 has a built-in Help function. Pressing the
Help Key at anytime brings up a Speech Bubble

which tells you what mode you are in and what
Sound is selected. By holding down the Help Key and

pressing any key you get the Key name and function
of that specific key.

PRO-TIP: Hold down Help while playing the musical
keyboard to get note information.

11

Help & Tools

11.2 Tools

Press SHIFT + Help key to enter TOOLS. Here you set
the time and date, and maybe you’ll find a calculator

here in the future...

BLUE encoder – MONTH/YEAR
GREEN encoder – DAY

WHITE encoder – HOUR
ORANGE encoder – MINUTE

11.3 Battery level

When you hold down the Help key
you can check the battery level

indicated by the VU/Battery meter
located on the right side of your

OP-1.

The Battery level is indicated by the LED
array on the right side of your OP-1.
All LEDs lit (including the red) indicates a
fully charged battery good for around 16
hours of heavy use. The stand-by time is
approximately 2 years.

12

Mic/Input key

12 Recording External Sources

12.1 Using the Mic/Input Key

The Mic/Input key (with the
microphone symbol on it) is used

when you need to record any
external audio.

The sources available for recording
are:

Line in

•

Built-in Microphone

•

Built-in Radio

•

Output to Input (the ear symbol)

•

The Mic/Input key works quite similar in any mode on
the OP-1. Let us go through some of the Main Modes

12.4 Sampling using the Built in Microphone

Press SYNTH
Press SHIFT + 1-8

Choose SAMPLER
Press 1-8

Press SHIFT+MIC
Choose microphone as input

Adjust gain and threshold settings, ORANGE+WHITE
Hold any key and speak into the microphone

Release key
Play the keyboard and enjoy the sound of your voice.

12.5 Creating a Drum Kit from FM Radio Waves

Press DRUM
Press SHIFT+1-8

Choose any sample based kit
Press 1-8

Press SHIFT+MIC
Choose FM radio for input using the Blue encoder

and find a signal using the Green encoder.
Adjust gain and threshold settings using Orange and

White encoders
Hold a key to start sampling

Release key
Play the keyboard and adjust start/stop positions

using encoders.

12.2 Mic/Input Key in Synthesizer and Drum Mode

Use the Mic/Input key when you have a Sampler
engine selected to start to sample. Choose your

desired source by turning the Blue Encoder. Use
external audio to control the Element LFO

12.3 Mic/Input Key in Tape Mode

Pressing the Mic/Input key in Tape mode lets you
toggle external audio ON/OFF. This lets you mix in

some radio playing in the background, or using
what’s coming via Line In and mix that with your

recorded material. (A great way to connect a second
OP-1 and control sound levels of both units with one

Master Volume Knob).

IN MIXER MODE

Same functionality as in Tape Mode.

NOTE: To switch source in Tape or Mixer mode, press
SHIFT + Mic/Input key. This let’s you switch sources

and adjust the level.

PRO-TIP: Connect a 3.5 mm audio cable (or
headphones) to Line in and use as an external

antenna. (There is also an OP-1 antenna, sold
separately).

13

Album/COM

13 File Rendering and Transfer

13.1 Album

The Album function lets you mix down all four tracks
from Tape into stereo files saved to the OP-1. Album

is useful when you want to record any Tape Tricks,
EQ, effects or live jamming. You may also play the

synthesizer simultaneously on top.

You have two sides of the record – Side A and Side B
each have a recording time of 6 minutes. Just switch

sides to record to the other side. The recordings will
still be there if you Power off and back on. Remember

to export a recordings over USB before you record to
the same side a second time, as this will overwrite

what was previously there.

To record press the RECORD Key (T1) and then
switch to Tape and press Play. When you are done

switch back to Album and press STOP.

13.3 OP-1 Mode

This is the mode which we’ve covered mostly so far,
where your OP-1 works as a self contained, stand-

alone unit. Activating this mode is done from COM
mode. Here press the OP-1 Key (T1) for getting to the

standard OP-1 mode. In this mode, the OP-1 works as
a stand-alone unit. When connected via USB in this

mode, the OP-1 listens to and transmits MIDI-notes
on MIDI channel 1 by default. This can be changed

by using SHIFT + Blue Encoder.

13.4 Controller Mode

Controller Mode makes your OP-1 a MIDI controller
keyboard. Use Shift + the encoders to set the

behavior of the encoders and Arrow Keys. You may
also switch MIDI channels by using SHIFT + Green

encoder.

Knobs RELATIVE or
ABSOLUTE

The Album records directly from Master out, which
means that any EQ, Master Effect or DRIVE you have

added will be applied to the sound.

13.2 COM

The Album key’s alternate use is to get to COM
mode. You get there by pressing SHIFT + Album key.

COM mode turns your OP-1 into a controller or
storage device.

MIDI Channel

ARROW Keys behavior

13.5 DISK Mode

By pressing the DISK Key, your OP-1 turns into a
storage device. It will show up on your computer’s

desktop when connected via USB.

13

(Continued)

Album/COM

13.6 OPT Mode:

The OPT Mode (OPTION Mode)
disables USB charging of the OP-1,

without having to pull the USB­cord.

OPT Mode is activated by pressing
SHIFT+COM and then T4. From

there, turn Blue encoder to toggle

USB charging on/off. OPT Mode is useful when in a
setup with a ground loop making noise. Regardless

of this setting, your unit will still charge if powered
off, or if it runs out of power, as long as it remains

physically connected via USB.

13.7 Sequencing External Equipment

Your OP-1 is always sending MIDI data out, even if
you’re not in controller mode. This way you may

connect the OP-1 via USB and use any of its built in
sequencers for controlling software synthesizers or

other connected hardware, configured to receive
MIDI.

13.8 Controlling Ableton Live

OP-1 integrates as a configured control surface for
Ableton Live. If you don’t plan on using OP-1 for

controlling Live you might consider skipping this
section.

13.81 Mac OS X Install

Right click the Live app icon (typically found in your
Applications folder, inside the Live 8.x.x folder). Click

”Show package contents”. Navigate to: ...Contents/
App-Resources/MIDI Remote Scripts.

Drop the OP1 folder into the MIDI Remote Scripts
Folder.

13.82 Windows Install

Look for the MIDI Remote Scripts directory and drop
the OP1 folder inside. If you are using Live 8.3, the

default location will be any of the following:

- Windows Vista and 7
C:\ProgramData\Ableton\Live 8\Resources\MIDI

Remote Scripts.

- Windows XP
C:\Documents and Settings\All Users\Application

Data\Ableton\Live 8\Resources\MIDI Remote Scripts

13.83 Finalize

Once installed pick the OP1 as Control Surface under
the MIDI/Sync tab in Live’s preferences. Make sure

OP1 MIDI Device is selected for both Input and
Output.

Press SHIFT + COM and then put the OP-1 into CTRL
Mode using T2.

Start by downloading, unzipping and installing the
OP-1 Ableton Live script, available from the Teenage
Engineering Library web (direct link).

13.84 Ableton Live Key Assignments

(Continued)

3 4 5 6

7

8

1 2

9 10 11

26 27 28

29 30 31

32 33 34

12 13 14 15 16 17 18 19 20 21 22 23 24 25

13

Album/COM

With the Ableton Live Script, your OP-1 is now
integrated to run keys as numbered below. We are

using four modes here as well, though very different
as they correspond to Live’s functionality.

Modes

9 [Synth] Perform Mode

Use arrow keys to shift octave and note keys to play,
as usual.

10 [Drum] Clip Mode

- A red box will show you the area of clips you

currently control. Use Keys 7/8 to move the red box
up/down. Use keys 32/33 to move it left/right.

- Key notes are used for launching individual clips

inside the red box. For stopping the clip, use SHIFT
and press the same key again.

- Use last key note to trigger entire scene, and SHIFT

+ note to stop all clips in the scene.

11 [Tape] Transport Mode

- Arrow keys move the current song position one

beat.

- SHIFT + Arrow keys offset loop.

- Note keys are used to set the length of the loop. The

length increments are in multiples of two per key (1,
2, 4, 8... 4096)

- SHIFT + Note key defines loop without changing

loop start.

12 [Mixer] Mixer Mode

- Arrow keys navigate on mixer tracks.

- Note keys select mixer tracks directly.

Global Assignments

# [Key Name] Function

1 [Help] Tap Tempo
2 [Metronome] Metronome

3 [Blue] Select Track Volume
4 [Green] Select Track Pan

5 [White] Select Track Send 1
6 [Orange] Select Track Send 2

7 [Mic] Red Box Up
8 [Album] Red Box Down

13 [T1] Predetermined Bank Select
14 [T2] User Bank 1 Select

15 [T3] User Bank 2 Select
16 [T4] User Bank 3 Select

17 [Loop In] Punch In
18 [Loop Out] Punch Out

19 [Loop] Loop
20 [Break] Overdub

21 [Reverse] Select Track Mute
22 [Chop] Select Track Solo

23 [M1] Select Track Arm
24 [M2] Reset Mute/Solo/Arm

25 [Sequencer] Back To Arrangement
26 [Lift] Open/Close Browser

27 [Drop] Arrangement/Session Toggle
28 [Split] Open/Close Detail

29 [Rec] Record
30 [Play] Play

31 [Stop] Stop
32 [REW] Red Box Left

33 [FF] Red Box Right
34 [Shift] Shift

Please refer to Live’s documentation for an in-depth
explanation of Live commands and navigation.

13.9 Controlling Propellerhead Reason

(Continued)

Following Reason 6.0.2 and Reason Essentials 1.0.2,
the OP-1 has remote support built into Reason

With the OP-1 plugged and in and in MIDI Mode
(Press SHIFT + COM, then press T2), open Reason’s
Preferences. Navigate to Control Surfaces, and click
Auto-detect Surfaces. Follow the instructions on the
screen and close Preferences.

13

Album/COM

- Transport buttons control Reason’s record and

playback functions.

- Keyboard plays notes.

- SHIFT + Arrow keys alter the octave.

- Tap Tempo sets tempo.

- Tape toggles looping on/off.

- Help button toggles metronome on/off.

- Selecting patches is done by using SYNTH and

DRUM keys, along with Sound selection keys 1-8

- Generally, the Reason integration with OP-1

operates off five main modes, starting with the
Mixer key, which sets to Reason’s default mode,
then T1 through T4 (for a total of five modes).

- Each of these Reason modes give different

functionality to both Encoders and Sound selection
keys.

- SHIFT alters functionality of Encoders and keys

depending on the current Reason mode.

- Encoders: Green and White typically control filter

cutoff and resonance values. Orange will usually
adjust volume, and Blue encoder will mostly control
the mod wheel.

- When using a sampling Reason device, the Mic

button starts recording of the sample.

14

SHIFT Key

14 SHIFT Key

14.1 Using SHIFT

Using SHIFT may not seem like a

big thing to explain and dedicate a
chapter to, but as it alternates a

good portion of the OP-1’s keys, it’s
well worth a look in addition of

what has been covered already.

The main reason to bring SHIFT up

is its use in changing individual modules in
Synthesizer and Drum mode.

14.2 Changing a Single Module

As we talked about in the Synthesizer and Drum
chapters, pressing the T1-T4 keys lets you tweak the

Engine, Sample kit, Envelope, Effect or LFO.

differences between (for example) SHIFT + Sound 1
and SHIFT + T1.

14.3 SHIFT + Main Mode Keys

Using SHIFT along with the Synthesizer or Drum
mode button will Recall the last saved version of a

Synth or Drum sound. This is useful when you feel
like improvising or trying out changes to a synth or a

drum sound, yet still be able to Recall the sound of
the original synth or drum.

Using SHIFT + Tape button lets you clear the
recordings on tape. You will have a chance to confirm

this before it happens.

Using SHIFT + Mixer button gives you a view of the
current signal path.

So let’s say you have made settings for a perfect LFO
and added a great Effect to that. The only thing that

you want to change is the Engine. This is made
possible by pressing SHIFT + T1. This command will

replace just the Engine, while keeping the rest of the
settings for the sound intact (LFO, Effect and

Envelope settings which may be active for this
particular sound). This can be useful in live settings.

When you have a sequence running this command
lets you hot swap the Engines of a sound, while

keeping the same Effect and LFO. This method may
allow for smoother transitions between Engines.

Of course, you still have the option of switching every
building block of a particular sound, (including

Engine, Envelope, Effects etcetera), by pressing
SHIFT + Sound 1-8. This option will present you with

the presets in green.

As an example of the difference between changing a
complete sound and changing a single module, do

take a second in Synthesizer mode to consider the

Recall Sound Recall Sound Erase Tape Signal Path

14

(Continued)

SHIFT Key

14.4 SHIFT + Arrow Keys

The Arrow keys functionality can be altered by SHIFT
as follows:

Tape stopped : Bar step back Bar step Forward

Tape looping: Move Loop back Move Loop Fwd

In Synthesizer: Pitch Bend Down Pitch Bend Up

14.5 SHIFT + Encoders

In most modes the encoders have double functions.
A couple of examples of the alternate encoder

functions available with SHIFT include the following:

While in Tape mode, SHIFT+ Green encoder lets you
set the starting point of the loop, rather than the

ending point which the Green encoder would control
without SHIFT being pressed. Also in Tape mode,

while holding shift and using the Orange encoder, the
Tape volume is adjusted in smaller increments,

compared to how the Orange encoder would affect
volume without SHIFT pressed.

Similarly, while editing individual hits in the Drum
Sampler Engine, getting a more specific In Point and

Out Point for a particular drum part, the SHIFT +
Green encoder (In Point) along with SHIFT + White

encoder (Out Point) can be used for fine tuning.
Again, this means having the encoder make more

exact changes while SHIFT is being held. In this
manner SHIFT + encoder is also used for fine tuning

of certain parameters. Looking at the same Drum
Sampler Engine view however, the Orange encoder

will alternate functions entirely when SHIFT is
pressed. Using SHIFT + Orange encoder, you go from

controlling play mode for a specific Drum Kit part, to
controlling its sound level. Conversely, the orange

graphics change from an arrow (indicating the type
of play mode), to a number (indicating sound level).

15

LFO Reference

15 LFO Modes

In the most basic understanding of how to use an
LFO (Low-frequency oscillator), consider it an

impulse to ”auto-tweak” your sound. A sound might
seem good, but could get even better when you (for

example) turn one of the encoders back and forth.
With the help of an LFO, the behavior of that same

encoder can typically be automated, or in some
cases semi-automated. Sometimes the encoder itself

won’t be spinning, yet you will still hear the changes
the LFO produces on your sound. As far as visual

feedback goes, a lot of the variations in sound will be
viewable on the OP-1‘s display. To see the effect of

some of the LFOs on a particular sound, consider
looking at the details of the patch’s building blocks,

using the T1-T3 buttons. The LFO of a sound, when
active, will be found on T4. Please note that a few

LFOs rely on some manual turning of the encoder to
produce an oscillation. This involves the Crank and

Bend LFOs.

Let’s start by loading an LFO to a sound, before we
look at the specifics of each LFO Mode.

sets the destination for the LFO (you can aim it at
Engine, Envelope, FX or Pitch & Volume). The

Destination is then further defined using the White
encoder. Orange encoder gets more specific, as this

sets the Destination Parameter. Dimmed colors in the
color wheel represent shifted encoders.

15.2 Random LFO Mode

Random LFO modulates ALL parameters in a
selected destination. It also have it’s own envelope

curve to control attack and decay

You access the LFO menu when you are on any
DRUM or SYNTH sound (1-8), by pressing SHIFT+T4.

Use the Blue encoder to highlight your selection.
Press T4 to confirm which LFO you want to use for

the current sound.

15.1 Element LFO Mode

The Element LFO uses external elements for
modulating a sound.

Use the Blue encoder to choose between either the
built-in G-Force sensor, or external input like Radio,

Line-in or Mic.

If you selected external input, Press SHIFT + Mic key
to set the input source.

The Green encoder sets the Amount - this is how
much the LFO will affect its target. The Blue encoder

Blue encoder sets Amount. Green encoder sets
speed. White sets Destination and Orange encoder

sets the envelope Attack/Decay.

15.3 Tremolo LFO Mode

This LFO let you modulate the pitch and the Volume
to create tremolo effects.

Blue encoder sets Speed. Green encoder sets Pitch.
White encoder sets Volume and Orange encoder sets

the envelope Attack/Decay.

15

(Continued)

LFO Reference

15.4 Value LFO Mode

The Value LFO modulates one single parameter
value. Blue encoder controls the speed and Green

encoder the Amount. The White encoder sets
Destination. Orange encoder sets destination

Parameter. Dimmed colors in the color wheel
represent shifted encoders.

15.5 MIDI LFO Mode

Another type of LFO is the MIDI LFO, which lets you
receive external MIDI Control Change (MIDI CC) from

other hardware, or from your computer’s music
software. In this LFO Mode, the MIDI CC becomes

the LFO. Setting up your OP-1 to receive MIDI CC for
a particular sound is done by pressing SHIFT + T4

from any SYNTH or DRUM patch.

15.6 Crank LFO Mode

The Crank LFO puts your hands in direct control over
the LFO speed, by turning the Blue encoder. The
White encoder sets destination, while the Green
encoder controls the LFO amount. It should be worth
mentioning that Crank mode is also supported in the
Sequencers called Endless and Tombola. (Crank
accessory sold separately).

15.7 Bend LFO Mode

The Bend LFO offers another take on physical control
of the LFO, not unlike the Crank in the way it relies on
manual control for oscillating. Orange encoder
controls the LFO, White encoder sets the amount.
Green and Blue controls destination. (Bend accessory
sold separately).

MIDI CC can be sent from most music software like
Ableton Live, Logic, Reason or Pro Tools. Depending
on what software you’re using, make sure that you
have MIDI playing on your computer, which is routed
from the software to the OP-1, connected via USB.

Using the encoders in MIDI LFO, you may route up to
four incoming channels of MIDI CC, and target them
to your preferred destinations.

PRO-TIP: Change Bend direction using SHIFT +
Orange encoder.

15.8 Additional Symbols Used in LFO Modes

(Continued)

The LFO clock found in the Tremolo and the Value
LFO Modes indicate a tempo locked clock with

numbers and a free running clock with hand.

15.9 Free LFO

In certain LFOs you’ll see the destination symbol
followed by the letter “F”. This means that the LFO
does not retrigger on every note played, when for
example a sequencer is running. In this case the LFO
is Free. A Free LFO combined with a slow clock
allows for long sweeping effects.

15

LFO Reference

16 Exercises

16.1 Recreating sounds

A great way to learn how to model a sound on the
OP-1 is to try to create a specific sound from real life.

It might be a fat bass sound, a police siren or singing
birds. The goal here is not to create a perfect ultra

realistic replica, rather to learn how to combine
different modules and understand their functions.

16.2 Starting out

Before you do the exercises here, remember to set all
modules in the Mixer to clean settings and to turn off

any sequencers:

Set all channels to around 80 and Pan to center (T1)

•

Set the EQ to clean by turning the Orange encoder

•

counter clockwise so the arrow points to CLEAN.
(T2)

Toggle any effect to OFF. (T3)

•

Set master levels Left/Right to 99 and set Drive and

•

Release to 0.
Toggle any Sequencer to OFF.

•

Enter Synthesizer mode by pressing the Synthesizer

•

Key.

16.3 Helicopter sound

16

Exercises

3. Set the Envelope to long attack by turning the
Blue encoder until you get a sloped curve. Turn

the Orange encoder counter clockwise to get a
mid- to long release. Set both the Green and the

White encoder to maximum by turning them
clockwise.

4. Enter the Effect screen by pressing the T3 key.
Now set the effect to Punch by entering the Effect

Browser (SHIFT + T3) and choose Punch from the
list. Press any key to exit.

5. The Punch Effect is great for adding punch to
drums and final mixes, but also as a multi purpose

resonance filter as used here. Set the Punch effect
like this: Blue parameter to middle, Green to

around 50-65, White to 24 and Orange to 99.

6. Now play a note on the musical keyboard and turn
the Blue encoder simultaneously. You will now

hear the noise going through the filter and when
you turn the Blue encoder clockwise you open up

the filter and let the sound through. The next step
is to control the Blue parameter (equals to the

Blue encoder) and make it automatically increase
and decrease at a certain speed. This is done with

the Parameter LFO.

Synthesizer engine: Digital
Envelope: Mid attack and long release

FX: Punch
LFO: Parameter LFO

Start by setting the Master Volume to a comfortable
listening level.

1. Select any Sound (from 1-8) and press SHIFT + T1
to enter the Synthesizer engine browser. Select

Digital from the list and press any key to exit
(except the musical keyboard). The Digital

synthesizer engine is simple but very flexible and
good for all-round synthesizer sounds.

2. When in Synthesizer engine screen, turn any
encoder until you get a noisy sound. To get a

clean noise without any tone you need to set the
Octave to +4. Do this by pressing > until the

Octave pop-up says “Octave +4”.

7. Press T4 to enter the LFO screen and the Press
SHIFT + T4 to enter the LFO browser and select

Value from the list. Press any key to exit.

8. The Value LFO is made to modulate one
parameter value only. To control the Blue

Parameter in the Punch effect set Speed to mid
(12 o’clock), Amount to 50-100, Destination to FX

and Parameter to Blue.

9. Now play the musical keyboard and you should
hear a helicopter type of sound.

If you now go back to the Effect screen you will
actually see that the blue parameter is moving up and

down. Try to turn the Blue encoder as you play a note
and you will be able to set the range for the blue

parameter to act within.

16.4 Singing Birds sound

(Continued)

Synthesizer Engine: FM
Envelope: Short attack, short decay, low sustain and

long release
Play Mode: Mono, Portamento: 60

FX: Spring
Sequencer: Tombola

To create a sound like singing birds, start with the FM
engine which is good for metallic and distinct sounds

but also clean sinus wave sounds when the FM level
is turned down. Here we also use the Tombola to play

the notes in a natural and random way and add some
portamento to let the notes glide. Sometimes using a

sequencer as tool for shaping a sound can be very
useful.

16

Exercises

1. Select any sound from 1-8 and change it’s engine
to FM.

2. Turn the Blue encoder counter clockwise until you
get a clean sinus wave sound.

3. Set the Octave to +3 (use arrow keys)

4. Set the Envelope to very short ATTACK, short
DECAY, low SUSTAIN and mid RELEASE.

5. By pressing SHIFT in Envelope screen you enter
the Play mode settings. Set PLAY MODE to

MONO and PORTAMENTO to 60.

6. Choose the Spring effect and set the TONE to
bright (white color), mid amount of TURNS,

maximum DAMP and mid LEVEL.

7. Choose the TREMOLO LFO and set the SPEED to
9 o’clock, PITCH to 20-30, VOLUME to 20-50 and

ENVELOPE to straight.

8. Now press SHIFT + Sequencer key and select
TOMBOLA. Press any key to exit.

9. Drop some notes into the Tombola and set the
speed to 2.

As mentioned earlier, using a sequencer as one of the
key elements can be very useful when creating

melodic type of effects.

17 Reference

Cluster

TYPE

Multi Layered Oscillator Cluster

Number of

waves (0-6)

Wave

Envelope

Spread

Unitor

String

TYPE

Waveguide String Model

Tension

Impulse

Decay

Detune

Impulse

Type

Digital

TYPE

True Digital Synthesis

Wave

Shaper

Octave

Detune and

Ring Mod.

On/Off

Digitalness

Pulse

TYPE

Dual Pulsetrain Oscillator

Filter

Amplitude

Second

Pulse

Modulation

17.1 Synth engines

Reference

FM

TYPE

Four Operator FM Synthesis

Topology

Freq.

FM

Amount

Detune

Dr Wave

TYPE

Frequency Domain Synthesis

Wave

Type &

Length

Filter

Phase

Chorus

Phase

TYPE

Phase Distortion

Phase

Shift

Distortion

Amount

Phase

Filter

Phase

Tilt

Synthesizer Sampler engine

TYPE

Teenage Sample Player

Start

Loop In

Loop Out

End

Reverse

On/Off

Loop In

Fine tune

Loop Out

Fine tune

Gain

Reference

Synth Engines

(Continued)

Drum Sampler engine

TYPE

Teenage Percussion Sample Player

Note / Pitch

In

Out

Loop Off /

Once / On

Reverse
On / Off

In

Fine tune

Out

Fine tune

Gain

Drum Sampler engine

TYPE

Teenage Percussion Sample Player

Pitch

Waveform

Envelope

Cross

Modulation

Pitch

Waveform

Envelope

Filter Cutoff

Frequency

Reference

Synth Engines

(Continued)

PRO-TIP: To copy a sample position across the
keyboard in Drum mode, just hold the key you want
to copy from and press LIFT, then hold the key you
want to copy to and press DROP. This is good for re­arranging your drum kits or creating tonal keys.

17.2 Effects Reference

Delay

TYPE

Solid State Delay

Size

Speed

Feedback

Mix

Nitro

TYPE

Dual Resonant Turbo Filter

Frequency

Filter

Frequency

Follow

Resonance

Frequency

Grid

TYPE

Three Dimensional Feedback Plate

X Size

Y Size

Z Feedback

Mix

Phone

TYPE

Hacked Telephone System

Tone

Phonic

Baud

Telematic

Reference

Effects

Punch

TYPE

Hard Hitting Low Pass Filter

Frequency

Punch

Rounds

Power

Spring

TYPE

Mathematic Reverb

Tone

Turns

Damping

Send

Reference

Effects

(Continued)

PRO-TIP: Press and hold SHIFT while turning
encoders for fine tuning of effects parameters.

Hardware

18 Hardware

CPU

• 400 MHz Processor Core (800 MMACS

performance)

• 64 MB Low-Power SDRAM (12ns)

• 512 MB NAND Flash storage

• 24-bit 96kHz ADC/DAC

Battery

• Li-Ion 1800 mAh

• 16 hours active Battery Life

• 2 Years stand-by time

• Charge via USB port

I/O

• USB 2.0 high speed (OTG)

• 3.5 mm Line Input, Output

• Built-in microphone

• High output mini speaker 8 Ohm 1 Watt

• 3-axis accelerometer (G-force) sensor

• Worldwide FM band support (64-108

MHz)

Display

• AMOLED display running at 60 fps

• 320 x 160 pixel resolution

• Color Depth: 16.7 M

• Contrast: 10000:1 (good for outdoor

use)

• Viewing Angle: 170°

• Life Time: 30,000 h

• 1800 mAh li-ion Polymer Battery

Mechanical

• Low profile keyboard module

• Scissor-switch ultra low profile design

• Expected lifespan of 10 million
keystrokes per key

Encoders

• Industrial Grade Incremental Encoders

• Rotational life: Up to 1,000,000
revolutions

• Excellent indexing feel (remains
consistent over life)

• Zinc die cast and fiber enforced high
performance plastic

• Used in Avionics Operating temperature
range: -40 to +85°C2.8

Body

• Advanced CNC:d one-piece Aluminum
design.

• 2 X M6 Mounting holes for accessories.

• 2 X Cuts for strap accessory.

Color

• Light grey powder coated body and
EDM textured keyboard

Dimensions

L 282 mm

•

H 102 mm

•

D 13.5 mm

•

Packaging

Paperfoam material

•

Environmentally friendly

•

Motion Sensor

• 3 Axis Motion sensor (G-Force)

• Assignable to any synth, envelope,
effect parameter or to pitch

OP-1 with optional Studio System rig.

OP-1 with optional accessories.