Torso T-1

A Guidebook
A Notebook
A Reference Book

The Official Reference for the

Torso T-1 Algorithmic OS
Sequencer 2.0.1
II The T-1 Sequencer Notebook : Reference & Guide
 Contents
1 Getting Started 5
2 Generic Setup 29
3 Rhythmic Patterns 49
4 Rhythmic Variation 79
5 Melodic Structures 109
6 Progressions 123
7 Cycles & Random 143
8 MIDI & WiFi Connectivity 159
9 Analog Connectivity 193

11 System Configuration 207

12 Index 223

The T-1 Sequencer Notebook : Reference & Guide III

IV The T-1 Sequencer Notebook : Reference & Guide
 1
Getting Started
Torso T-1 is a 16 track, algorithmic sequencer These same principles are applied with T-1
that brings a modern twist to hardware pattern where sequencer parameters can be changed,
sequencing. T-1 is not in itself an instrument and tweaked and adjusted real time. Always
does not therefore generate any audio or sound. remember that the [Bank] button will backup
This sequencer is different, forgoing layers of and return home if needed. In summary, the T-1
menu diving through multiple screen pages in brings a more immersive, creative and fun
favour of hands-on touch and feel. The user process to the fore. The tactile user experience
interface is immediate with 23 control buttons encourages on-the-fly ad-libs and live
and 18 endless rotary / push knobs. Multiple performance as well as general composition.
connectivity options make it an ideal device to Expect a more organic and fluid parameter
use centrally in a rig or as part of a wider setup. driven approach to the creation of patterns and
Integrating with desktop, modular, mobile or arrangements. This book takes a user
software DAW systems is possible through a perspective in getting the best from the T-1. It
variety of connectivity options. CV, Gate, WiFi offers a companion guide as well as a quick
Link, MIDI over USB or direct are all available reference. Read cover to cover or just step in
onboard. The objective of this unique device is and out when needed. Learn and capture your
to build beyond traditional step sequencing with own knowledge by adding personal notes. The
a focus on generative and evolving pattern Torso T-1 Notebook is a guide that helps you
development. The tweaking and tuning of synth grow towards your destination while having fun
parameters is a familiar process when designing on the journey.
sounds or performing live with a synthesizer.

5 The T-1 Notebook : Reference & Guide

1 Getting Started
1.1 Introduction NOTES

Torso T-1 is an algorithmic sequencer. It does not generate audio but is

used as a controller for other sound generating instruments such as
hardware or plugin synthesizers.

What makes T-1 Different?

Traditional / Typical Sequencers. Torso T-1 Algorithmic Sequencer

Linear programming process. Algorithmic sequence generation.

Program and play Organic flow and continuous evolution.

Rigid programming workflow. Organic user experience.

Preset variations Real-time and live performance

adjustments. Play like an instrument.

Step based approach. Euclidean and algorithmic rhythms and

arpeggiation.

MIDI DIN or USB Interface most MIDI through USB. MIDI DIN. WiFi and
commonly used Ableton Link, CV and Gate.

USB or Mains Powered USB Powered - Low power usage, ideal

with portable rechargeable battery packs.

Often display screen menu or No screen. Control configurable plus

application reliant configuration configuration app option.

Focus on sequencing Multiple sequencing options plus on

board modulation

No sound generation No sound generation

Defined track count 16 polyphonic tracks, maximum of 256

patterns and bank storage.

6 The T-1 Notebook : Reference & Guide

 Getting Started 1
NOTES 1.2 How to Use This Notebook
This book combines a formal reference and notebook, collectively bringing
together a comprehensive guide to the T-1 Sequencer.
Here
Can be w ritten here
Your Notes Sections are laid out to cover the full workflow with walkthroughs, step by
step guides and tips. Some pages carry a wide margin and some are
intentionally blank enabling you to make your own notes.

Conventions used in this book.

(KNOB) Rounded parentheses represent the 16 endless rotary control

knobs. Where necessary, the command action will be presented
before the control and the actual function named in uppercase
inside the parenthesis. Press to view or double press to lock the
view of the parameter, turn or press and turn to view and edit.

Examples:
‘Press (STEPS)’ or ‘Turn (STEPS)’, ‘Turn (SUSTAIN)’.

[BANK] Square parentheses contain functions that are selectable using

one of the 16 value buttons, the 2 performance buttons or one of
the 5 general control buttons. The command action is presented in
normal, partially capitalised text before the control function which
is labelled uppercase within the parenthesis.

Examples:
‘Press [MUTE]’, ‘Press [CTRL]’, ‘Press [VB1]’ for first value button.

[CTRL] + (KNOB) Button combinations are indicated with a ‘+’ between commands
when used together. The ‘ctrl’ button is commonly used as
secondary control function which allows access to additional
options. This button is held in conjunction with other buttons and
knobs. Secondary functions are labelled in grey, second row of
knobs and horizontally to the side of the buttons. The primary or
secondary function label name will be used in the descriptions
depending on the instruction context.

Examples:
‘Hold [CTRL] + Turn (OFFSET)’, ‘Hold [CTRL] + Press [SAVE]’

ORANGE ⬛ The value buttons are multi-coloured and act as a visual indicator
of the selected function. This is documented within these
instructions by the colour name in uppercase followed by an
appropriately coloured tag.

Value Buttons 1-16 The 16 Value buttons are located bottom left and are numbered 1-
8, left to right - top row, 9-16, left to right - bottom row. These by
[VBx] default select tracks, but their function will change depending on
the mode selected. The function will be given after the button.

Example:
Press [VB1] Chrom - With respect to scales

The T-1 Notebook : Reference & Guide 7

1 Getting Started
1.3 Power Up NOTES

T-1 Sequencer is powered using the USB-C connection located at the rear
of the unit. There is no power switch and T-1 will power on immediately
when power is applied. T-1 requires a minimum of 390mA with 100%
brightness but will operate from 200mA upwards. The T-1 Default
brightness setting is 75% which is adjustable. A 500mA minimum power
source is recommended.

▌ POWERING ON / OFF THE T-1 SEQUENCER

1. Connect the supplied USB-C cable between T-1 Sequencer and a USB
supply. This could be:-

• A portable USB power bank.

• USB Mains supply adapter.

• A powered USB hub.

• A PC or Macbook.

• A tablet or mobile device.

• Another powered device such as an instrument or synth.

2. T-1 will start up and the pads will illuminate ORANGE ⬛.

3. To power the unit off, disconnect the USB-C cable or the supply.

T-1

USB
USB

USB Main Adapter PC / Mac

USB Power Bank

8 The T-1 Notebook : Reference & Guide

 Getting Started 1
1.4 Hardware Overview
T-1 is an algorithmic sequencer and does not, in itself generate any audio.

3.5mm Mini Jack TR Mono 3.5mm Mini Jack connections for MIDI In, Out, Thru using a 3.5mm
connections for 4 x CV - Control external clock synchronisation Jack to 5 Pin MIDI adapter type A.
Voltage and 2 x Gate outputs. inputs / outputs. (supplied)

39 mm
1,5 Inch

3.5mm Mini Jack CV - Control Supply is via the USB-C

Voltage modulation input. Also MIDI via USB.
(cable supplied)

304 mm
11,9 Inch

114 mm
4,5 Inch

All dimensions include enclosure plus the control knobs, buttons and rubber feet. Weight is 815 grams (1,8 lbs).

T-1 is supplied along with a USB-C to USB-A cable and a 3.5mm to MIDI adapter.

The T-1 Notebook : Reference & Guide 9

1 Getting Started
T-1

The user interface has a total of 7 control areas consisting of 18 endless rotary / push control knobs
and 23 multi-colour buttons. The knobs are clustered towards 3 specific workflow / performance
topics plus configuration setup. The two rows, total of 16 value buttons are used by default for track
selection plus they also act as a visual indicator. The 2 performance buttons, temp and mute, help
control on-the-fly changes and variations. The remaining 5 control buttons are used for general
functions including transport control, editing and bank / pattern selection.

Shape Groove Tonal Setup

Used to build and layer Euclidean patterns, Composition timing and Pitch & Scale General MIDI & Track
create movement and adjust voicing rhythmic feel Configuration

1 2 3 4 9 10 13 15 16

5 6 7 8 11 12 14 17 18

19 21 22 23

20 24 25 26 27

Value Buttons General Buttons Performance Buttons

Used to access the 16 tracks and illuminate as Used for the 5 overall control, 2 buttons for on-the-fly variations
visual representation of knob press functions. editing and transport functions. and live performances.

Main functions are labelled in black and secondary functions in grey. Secondary functions are
accessed by holding the [CTRL] button #23, in addition to the function. Other button combinations
can be used to access various options. The value buttons are multifunctional and also illuminate,
where the colour acts as a visual indicator when adjusting settings.

10 The T-1 Notebook : Reference & Guide

 Getting Started 1
Shape
1 Steps 2 Pulses / Rotate
Euclidean pattern generator - number of steps. Euclidean pattern generator - number of note pulses.
Secondary function sets / shifts starting point of pattern.

3 Cycles 4 Division
Edit parameter lock automation settings.A cycle Euclidean pattern generator - note interval value of each
contains a setting for each of T-1 parameters. step of the pattern.

5 Repeats / Offset 6 Time / Pace

Number of note repeats added after each pulse. Adjusts note interval value of repeats. Secondary
Secondary function applies velocity ramp for repeats. function adjusts repeat acceleration / deceleration.

7 Voicing / Style 8 Range / Phrase

Adjusts order of inserted notes in the pitch menu. Range of pitch modulation. Based on LFO’s and shapes.
Secondary option for arpeggiator style. Secondary function to select modulation shape.

Groove
9 Velocity / Probability 10 Sustain
Base velocity of notes. Secondary function adjusts the Note length adjustment.
note filter based on a chance.

11 Accent / Groove 12 Timing / Delay

Adds a velocity variation to notes. Secondary option Microtiming asymmetrical stretch across the beat grid.
introduces a velocity groove character. Secondary function introduces a +/- track ‘delay’ offset.

Tonal
13 Pitch / Harmony 14 Scale / Root
Keyboard style pitch application and transposition of Scale of the track. Secondary function sets the root note.
notes. Secondary function for harmonic transposition.
Setup

15 Length / Quantize 16 Tempo

Track and loop length. Secondary function for Project tempo from 24bpm - 280bpm, default 120bpm.
quantization of current pattern with respect to transport.

17 Channel / Output 18 Random / Rate

MIDI Channel between 1-16. Secondary function, Randomization amount of parameters in the sequence.
‘output’ is not currently implemented. Secondary function is sequence modulation playback rate.

Value Buttons

19 Top Row 1 - 8 20 Bottom Row 9 - 16

Represent tracks 1-8 and illuminate to visualise Represent tracks 9-16 and illuminate to visualise
selected function. Functions are dependant on mode. selected function. Functions are dependant on mode.

General

21 Play / Stop 22 Clear / Copy

Transport control for pattern. Clear tracks, patterns or parameters. Copy using
secondary option.

23 Ctrl 24 Bank / Save

Hold to access secondary options for other buttons. Selects bank view. Select bank with value button. Save
bank state using secondary function. Also used as the
Exit / Home function to revert to default mode.
25 Pattern / Select
Selects pattern view. Select pattern with value button.
Silently select pattern when using secondary function.

Performance Buttons

26 Temp 27 Mute
Hold and turn a parameter to temporarily change its value. Hold along with a value button to mute the selected track.

The T-1 Notebook : Reference & Guide 11

1 Getting Started
1.5 First Steps NOTES

At this point its good to get hands on and to get creative. While this section
will not go deep into any feature, it will help establish a starting point and
build confidence by following a basic workflow in using the core T-1
Functions.

Some things should be initially considered prior to setting up T-1. These may
need some thought initially but in the future will be a simple and embedded
part of your own set up. The actual outcome will also depend on the synths
and sounds used as the destination.

12 The T-1 Notebook : Reference & Guide

 Getting Started 1
Example Workflow.

The workflow adopted with T-1 Sequencer will of course develop to fit your personal approach. To
get started a typical journey is described below.

PROCESS S ACTION COMMENTS

MIDI - CV 1 Connect External Gear Connect an external sound device. This could be
a synth or instrument, modular gear or DAW.
Typical setups would be desktop
hardware via MIDI DIN. PC /
MAC Digital Audio Workstation 2 MIDI Channel / CV Config Set the MIDI ‘Channel’ or configure the CV outs.
via MIDI USB. A modular and
Eurorack system connected by
CV - Control Voltage & gate. 3 Set the Tempo Tempo between 24-280 BPM. Tempo is saved
with the bank.

4 Select Bank / Pattern Select a bank and pattern in which to develop the
Shape - Track Structures musical structure.

Establish track structures, step

lengths, divisions and the role 5 Foundation of Tracks Establish tracks and their role for instruments i.e.
for the track i.e. Kick, Synth, Track 1 for Kick Drum, Track 5 for Synth etc
Bass, Pad. This is the basic
foundations which operate
rhythmically.
6 Rhythmic Pattern Structure Create a structure of steps and pulses. Lay the
foundation of the pattern.

7 Rhythmic Variation Enhance a pattern with note lengths, velocity,

groove and timing behaviour. Bring variation and
movement into the arrangement

Tonal - Melodic Elements 8 Melodic Structure Add melodic pitch and tonal harmonic elements
Build musical passages based in the production where needed.
on pitch and tonal
components. Develop
progressions and create
interest through variations 9 Develop Progressions Further tonal shaping, cadences and voicing
elements. Create complex melodic variations and
component parts of an arrangement.

Randomisation
Organic and unpredictability 10 Randomisation Unpredictability and musical variations are
introduced across almost all introduced with randomisation.
parameters

11 Cycles Copy, create or develop more musical passages

Arrangements within cycles. Build more interesting progressions
Cycles are the starting point of and the building block of a full track.
a longer full song and
arrangement. Build more 12 Build more tracks Develop other tracks to contribute to the full
tracks and patterns and arrangement and song. Build additional patterns.
develop the complete
production

13 Assemble and Arrange Develop the component parts, patterns / tracks

and cycles into the full track. Use copy and paste
to help develop sections.

14 Save Although auto-save may sort this

The T-1 Notebook : Reference & Guide 13

1 Getting Started
NOTES

6 Steps To Creating A Drum Beat.

The objective is to create a simple kick, snare, hat drum loop. The sounds
will be handled by a desktop drum synth, in this case Elektron’s Digitakt but
could equally be another device or DAW. The synth is connected by MIDI.

Step 1. Connect the Gear.

MIDI Config
The destination device must be configured to receive MIDI. Clock can be external from T-1 but
Transport should be off, so that only T-1 controls the sequence. Device tracks and associated MIDI
Channels should match with the sound required.

Track / Channels:-

Track 1, Channel 1 = Kick

Track 2, Channel 2 = Snare
Track 3, Channel 3 = HiHat
Track 4, Channel 4 = Bass

Audio Out
Connected from sound module to
MIDI In
mixer, speakers or headphones.
Connected to sound
module

MIDI Out
Using the 5 Pin to
3.5mm adapter

Track, Channels:-

Track 1, Channel 1 = Kick

Track 2, Channel 2 = Snare
Track 3, Channel 3 = HiHat
Track 4, Channel 4 = Bass

14 The T-1 Notebook : Reference & Guide

 Getting Started 1
NOTES

Step 2 - Scope Out The Idea and Objective

The musical objective could be a pre-prepared plan or a just an ad-lib. This

step doesn't have to be formally documented and may just exist in your
mind. However this is an example of the production considerations needed.

Linear Track Notes T-1 Button Notes

1. Kick

2. Snare

3. HiHat

4. Bass

1 5 9 13 16 1-16

Sound T-1 Track MIDI Channel Destination

Kick Track 1 Channel 1 Digitakt Track 1 - 37 BD Weird

Snare Track 2 Channel 2 Digitakt Track 1 - 35 SD Buggin

Hi Hat Track 3 Channel 3 Digitakt Track 1 - 5 HH Digit

Bass Track 4 Channel 4 Digitakt Track 1 - 73 Anasine

Bass Filter Track 9 Channel 4 Digitakt CC #74

* Destination also refers to the Digitakt and Digitone factory presets

The T-1 Notebook : Reference & Guide 15

1 Getting Started
NOTES

Step 3. Creating a Kick Track

The first track will be the kick drum sequenced from T-1 and playing a
desktop drum synth. This could equally be a DAW. The Snare and HiHat to
follow on tracks 2 and 3 with a Bass stab on track 4.

▌ TRACK 1 - KICK

1. Select Track 1, Press the first value button [VB1]. The default mode is
track view, if this is not visible, press [BANK] to select the default ‘home’
track view. Value button 1 will be lit ORANGE ⬛.

2. Ensure the track has 16 Steps. Press (STEPS) to view the value
buttons. All should be lit to indicate 16 steps. The lit steps indicate
number of steps selected. Turn (STEPS) to adjust the number.

3. Hold (PULSES) to temporarily view how many note events are selected.
Active pulse step notes will be lit ORANGE ⬛.

4. Turn (PULSES) to add or remove the number of euclidean pulses. The

euclidean sequencer will automatically distribute the number of note
event pulses equally across the total number of steps. Add 4 pulses.

5. Ensure the MIDI Channel on T-1 matches the Kick drum channel on the
destination device. Press (CHANNEL) to view the current track’s MIDI
channel. The selected channel will be lit WHITE ⬛. Turn (CHANNEL) to
set the channel to 1, indicated by lit [VB1], if not already set.

6. Press [PLAY]. The play button will flash indicating playback is active.
The kick sound on the connected audio module should be triggered on
the beat. T-1 will loop the 16 step playback.

Adjusting Parameters

When turning a parameter knob the value buttons will temporarily display
the current state across the value buttons. This is default behaviour but can
be changed in the T-1 Config misc page settings.

16 The T-1 Notebook : Reference & Guide

 Getting Started 1
NOTES

Step 4. Creating a Snare Track

The snare will follow similar principles as the kick. Manual pulse note
events can be added as well as the automatic Euclidean sequenced notes.

▌ TRACK 2 - SNARE

1. Select Track 2, Press the second value button [VB2]. The default mode
is track view, if this is not visible, press [BANK] to select the default
‘home’ track view. Value button 2 will be lit ORANGE ⬛.

2. Ensure the track has 16 Steps. Press (STEPS) to view the value
buttons. All should be lit to indicate 16 steps. The lit steps indicate
number of steps selected. Turn (STEPS) to adjust the number.

3. Double Press (PULSES) to view how many note events are selected.
Double tapping the knob will retain the visual button view where single
tap just temporarily displays the state.

4. Active step notes will be lit ORANGE ⬛. Instead of using the Euclidean
pulse placement set the pulses manually. Tap value buttons [VB5] and
[VB13] to manually place the pulses.

5. Ensure the MIDI Channel on T-1 for track 2 matches the Snare drum
channel on the destination device. Press (CHANNEL) to view the
current track’s MIDI channel. The selected channel will be lit WHITE ⬛.
Turn (CHANNEL) to change channel. Value button [VB2] should be lit
for MIDI channel 2.

6. Press [PLAY]. The play button will flash indicating playback is active.
The kick and snare sounds on the connected audio module should be
triggered on the set pulse beats. T-1 will loop the 16 step playback.
Track buttons will flash when a pulse is triggered.

The T-1 Notebook : Reference & Guide 17

1 Getting Started
NOTES

Step 5. Creating a Hi Hat Track

To create a natural sounding Hi Hat it is good to also apply a groove to vary

the velocity applied on each pulse.

▌ TRACK 3 - HI HATS

1. Select Track 3, Press the third value button [VB3]. The default mode is
track view, if this is not visible, press [BANK] to select the default ‘home’
track view. Value button 3 will be lit ORANGE ⬛.

2. Ensure the track has 16 Steps, although try other lengths to create
interesting polyrhythms. Press (STEPS) to view the value buttons. All
should be lit to indicate 16 steps. The lit steps indicate number of steps
selected. Turn (STEPS) to adjust the number.

3. Double Press (PULSES) or Turn (PULSES) to view and set how many
pulse note events are populated into the pattern. Active step notes will
be lit ORANGE ⬛. The Euclidean pulse placement with 8 pulses
selected will be spread evenly across the selected steps.

4. Ensure the MIDI Channel on T-1 for track 3 matches the Hi Hat drum
channel on the destination device. Press (CHANNEL) to view the
current track’s MIDI channel. The selected channel will be lit WHITE ⬛.
Turn (CHANNEL) to change channel. Value button [VB3] should be lit
for MIDI channel 3.

5. Press [PLAY]. The play button will flash indicating playback is active.
The kick, snare and hi hat sounds on the connected audio module
should be triggered on the set pulse beats. T-1 will loop the 16 step
playback. Track buttons will flash when a pulse is triggered.

6. It is good to add some variation rather than a fixed level on the hats.
Hold [CTRL] + Press & Hold (GROOVE). Tap to select value button
[VB2]. This will select ‘groove’ pattern 2 - Timbales.

7. To further develop the groove variation, Turn (ACCENT) to set the

amount of velocity groove characteristic applied. It’s good to apply a
groove while playing.

18 The T-1 Notebook : Reference & Guide

 Getting Started 1
NOTES

Step 6. Creating a Bass Track

Although the Bass could be created in a melodic pattern, this example

keeps the bass line a simple element that helps drive the percussion.

▌ TRACK 4 - BASS

1. Select Track 4, Press the fourth value button [VB4]. The default mode is
track view, if this is not visible, press [BANK] to select the default ‘home’
track view. Value button 4 will be lit ORANGE ⬛.

2. Ensure the track has 16 Steps. Press (STEPS) to view the value
buttons. All should be lit to indicate 16 steps. The lit steps indicate
number of steps selected. Turn (STEPS) to adjust the number.

3. Turn (PULSES) to view and set how many note events are applied.
Active step notes will be lit ORANGE ⬛. Euclidean pulse placement
sets the pulses evenly. Turn until 3 pulses are applied to buttons [VB1],
[VB7], [VB12].

4. Ensure the MIDI Channel on T-1 for track 4 matches the bass or any
other melodic instrument, on the destination device. Press (CHANNEL)
to view the current track’s MIDI channel. The selected channel will be lit
WHITE ⬛. Turn (CHANNEL) to change channel. Value button [VB4]
should be lit for MIDI channel 4.

5. Press [PLAY]. The play button will flash indicating playback is active.
The defined sounds on the connected audio module should be triggered
on the set pulse beats. T-1 will loop the 16 step playback. Track buttons
will flash when a pulse is triggered.

6. This is a more melodic rather than a beat driven track. It is possible to

adjust the note duration using the (SUSTAIN) control if desired.

The T-1 Notebook : Reference & Guide 19

1 Getting Started
NOTES

7 Steps To Creating A Melody.

Objective. The objective is to build on the drum beat project and add more
melodic elements. Also to include additional hardware in the process as a
sound source. The melodic sounds will be handled by a desktop FM synth,
in this case Elektron’s Digitone but could equally be another device or DAW.

Step 1. Connect the Gear.

MIDI Config
The destination device must be configured to receive MIDI. The MIDI IN and Thru connections are used
to ensure a single MIDI network with two devices controlled by T-1. Clock can be external from T-1 but
Transport should be off, so that only T-1 controls the sequence. Device tracks and associated MIDI
Channels should match with the sound required.

Audio Config
Both sound modules can be connected to a mixer and in turn to monitors or headphones.

Track / Channels:-

Track 1, Channel 1 = Kick

Track 2, Channel 2 = Snare
Track 3, Channel 3 = HiHat
Track 4, Channel 4 = Bass
Track 5, Channel 5 = Lead
Track 6, Channel 6 = Lead
Track 7, Channel 7 = Lead
Track 8, Channel 4 = CC Ctrl

MIDI In MIDI Thru MIDI In

Connected from drum Connected from drum Connected to drum
sound module to synth module sound module

MIDI Out
Using the 5 Pin to
3.5mm adapter

Track, Channels:-

Track 1, Channel 1 = Kick

Track 2, Channel 2 = Snare
Track 3, Channel 3 = HiHat
Track 4, Channel 4 = Bass
Track 5, Channel 5 = Lead
Track 6, Channel 6 = Lead
Track 7, Channel 7 = Lead
Track 8, Channel 4 = CC Ctrl

20 The T-1 Notebook : Reference & Guide

 Getting Started 1
NOTES

Step 2. Scope Out The Idea and Objective

Building on the drum beat a melody could consist of a lead line, pad,
ambient drones, chimes etc. The options are many.

Linear Track Notes T-1 Button Notes

5. Pluck

6. Piano

7. Chord

9. Bass

1 5 9 13 16 1-16

Sound T-1 Track MIDI Channel Destination *

Bass Filter Track 9 Channel 4 Digitakt CC #74

Plucky lead Track 5 Channel 5 Digitone Track 1 - Plucky eA

Alt piano lead Track 6 Channel 6 Digitone Track 2 - Epiano VGS JM

Chord stab Track 7 Channel 7 Digitone Track 3 - Autochord SM

* Destination also refers to the Digitakt and Digitone factory presets

The T-1 Notebook : Reference & Guide 21

1 Getting Started
NOTES

Step 3. Creating a Plucky Lead

Track 5 will be the plucky lead sequenced from T-1 and playing to a
desktop FM Synthesizer. This could equally be a DAW. Other melodic
elements will follow.

▌ TRACK 5 - PLUCKY LEAD

1. Select Track 5, Press the fifth value button [VB5]. The default mode is
track view, if this is not visible, press [BANK] to select the default ‘home’
track view. Value button 5 will be lit ORANGE ⬛.

2. Ensure the track has 16 Steps. Press (STEPS) to view the value
buttons. All should be lit to indicate 16 steps. The lit steps indicate
number of steps selected. Turn (STEPS) to adjust the number.

3. Press (PULSES) to view how many note events are selected. Active
step note will be lit ORANGE ⬛. Double press to retain the pulse button
view.

4. Turn (PULSES) to add or remove the number of steps. The euclidean

sequencer will automatically distribute the number of note event pulses
equally across the total number of steps. Add 5 pulses.

5. Ensure the MIDI Channel on T-1 matches the plucky lead channel on
the destination device. Press (CHANNEL) to view the current track’s
MIDI channel. The selected channel will be lit WHITE ⬛. Turn
(CHANNEL) to change channel. Set to channel 5, [VB5] lit.

6. Press [PLAY]. The play button will flash indicating playback is active.
The plucky lead sound on the connected audio module should be
triggered on the set beats. T-1 will loop the 16 step playback.

22 The T-1 Notebook : Reference & Guide

 Getting Started 1
NOTES

Step 4. Creating an Alternate Piano Lead

The piano lead will be a sound that follows the same pattern as the plucky
lead. This can be played as an alternative or layered together.

▌ TRACK 6 - PIANO

1. Select Track 6, Press the sixth value button [VB6]. The default mode is
track view, if this is not visible, press [BANK] to select the default ‘home’
track view. Value button 6 will be lit ORANGE ⬛.

2. Press & Hold [CTRL] + [COPY] + Tap [VB5]. Value button 5 will be lit
GREEN ⬛. This signifies the track has been copied.

3. While still holding [CTRL] + [COPY], press [VB6]. Value button 6 will
flash GREEN ⬛. This signifies the copied track has been pasted. Track 5
has effectively been replicated onto track 6.

4. Ensure the MIDI Channel on T-1 for track 6 matches the piano channel
on the destination device. Press (CHANNEL) to view the current track’s
MIDI channel. The selected channel will be lit WHITE ⬛. Turn
(CHANNEL) to change channel. Value button [VB6] should be lit for
MIDI channel 6.

5. Press [PLAY]. The play button will flash indicating playback is active.
The track sounds on the connected audio modules should be triggered
on the set pulse beats. T-1 will loop the 16 step playback. Track buttons
will flash when a pulse is triggered.

The T-1 Notebook : Reference & Guide 23

1 Getting Started
NOTES

Step 5. Creating a Pitch Based Chord Stab

So far all the notes and beats have been fixed to set notes. Pitch variations
create a melody that can be expansive or simple loop. There are multiple
methods that can be used to generate chords and melodies. This example
keeps things simple but is a starting point for developing more elaborate
melodies in future.

▌ TRACK 7 - CHORD STAB

1. Select Track 7, Press the seventh value button [VB7]. The default mode
is track view, if this is not visible, press [BANK] to select the default
‘home’ track view. Value button 7 will be lit ORANGE ⬛.

2. Ensure the track has 16 Steps, although try other lengths to create
interesting polyrhythms. Press (STEPS) to view the value buttons. All
should be lit to indicate 16 steps. The lit steps indicate number of steps
selected. Turn (STEPS) to adjust the number.

3. Double Press (PULSES) to view and set how many pulse note events
are populated into the pattern. Active step notes will be lit ORANGE ⬛.
Manually enter note pulses on step [VB1] and [VB7].

4. Ensure the MIDI Channel on T-1 for track 7 matches the chord sound
channel on the destination device. Press (CHANNEL) to view the
current track’s MIDI channel. The selected channel will be lit WHITE ⬛.
Turn (CHANNEL) to change channel. Value button [VB7] should be lit
for MIDI channel 7.

5. Press [PLAY]. The play button will flash indicating playback is active. It
is easier to tweak and adjust by ear on setting some parameters.

6. Double tap (CYCLES). The first 4 value buttons will be lit. The default
starting point is 4 cycle slots. Cycles are iterations of the pattern when
different parameters can be set. A flashing value button indicates the
selected cycle. A WHITE ⬛ value button indicates the playing cycle. If
no cycle is selected the following changes will affect all cycle slots.

7. Double tap (PITCH). The chromatic keyboard will display on the value
buttons. The active note will be already selected and lit ORANGE ⬛.

8. To create a chord, Press the value buttons to add notes that contribute.
Only available notes in the scale are lit. Turn (SCALE) to change the
scale if required. Press [VB11] & [VB13] to add to [VB9] and create a C
Major Chord, CEG Triad on the white keyboard notes.

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 Getting Started 1
NOTES

9. Double Press (CYCLES) to return to the cycles view. The first 4 value
buttons will be lit. The default starting point is 4 cycle slots.

10. While still viewing the (CYCLES) setting, Press [VB2] to select.

11. Turn (VOICING) to change the chord on the selected cycle. The voicing
page will be displayed while adjusting.

12. When the Cycle view returns, A RED ⬛ value button will indicate that
the cycle slot has been edited and contains changed values. The
[BANK] button also flashes RED ⬛ to indicate edit mode.

13. A cycle can be cleared by Holding [CLEAR] + [VBx] for the cycle

14. By iterating through steps 9-13 chord progressions can be created.

15. When satisfied with a chord progression, press [BANK] to leave edit
mode and return to home view.

16. Try adding different chords with (PITCH). Also try adjusting (RANGE)
and experiment with (STYLE) and (PHRASE).

17. In home view, Press [CTRL] + [SAVE] + [VBx] Value button of the bank
followed by [VBx] value button of the Pattern. Saving regularly
throughout developing a project is a good habit to get into.

18. Other variations of the chord can be created in each cycle slot. It is also
possible to copy cycles, example by holding [CTRL] + [COPY] + [VB1]
to copy and while holding [CTRL] + [COPY], press the destination slot
i.e. [VB2], [VB3] etc.

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1 Getting Started
NOTES

Step 6. Control Change Messages

T-1 Can also perform control changes to external parameters on

compatible devices. These CC messages are set on a T-1 CC Track as
opposed to a normal note track. This example controls the filter cutoff for
the bass sound in the Digitakt.

▌ CONTROLLING AN EXTERNAL SYNTH PARAMETER

1. Select a new CC track, Press [CTRL] + [VB9] for Track 9. This will be lit
CYAN ⬛. The commands cycle between track modes.

2. Set the channel for the Bass sound by holding and turning (CHANNEL).
This should be channel 4, i.e. value button 4 lit.

3. Digitakt filter cutoff is CC#74. Check the actual device you use for the
MIDI Mappings to determine the representation for the specific device.

4. By default, the (VELOCITY) knob represents CC#74. When on Track 9

this parameter can be changed which will transmit the value change to
the destination device.

5. When playing the song arrangement the (VELOCITY) knob will change
the bass filter cutoff value. This example is based on a manual control
action to change the parameter.

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 Getting Started 1
NOTES

Step 7. Mutes for Ad Libs

Muting and unmuting tracks is a technique often used in ad-lib live

performances for improvisation and for developing arrangements on-the-fly.

▌ MUTING TO BUILD AN ARRANGEMENT

1. Press [MUTE] + [VBx] where ‘x’ is the selected track. This will mute or
unmute the track.

2. Muting or Unmuting is applied to the track ONLY when the [MUTE]

button is released.

3. Try muting all tracks with the exception of the Kick and Snare tracks 1
and 2. Muted tracks will be lit solid BLUE GREY ⬛, while unmuted
playing tracks will flash in the colour of the track type if selected or white
if not selected.

4. Increase the bass cut off as the song develops and unmute the synth
tracks in order at the end of each bar. Unmute the hi hat track to add
some momentum.

5. Muting and unmuting across a fixed length passage can create a live
improvisation, Ideal for live sessions or ad lib jamming.

The T-1 Notebook : Reference & Guide 27

 NOTES

28 The T-1 Notebook : Reference & Guide

 2
Generic Setup
T-1 brings a new dimension into the world of Secondly the destination instrument which T-1
audio production and make no mistake is a will control and modulate. Typically this will be a
unique yet comprehensive device. There are synthesizer, drum machine or sound module or
so many features that may seem less obvious maybe a mix of many. It could also be a PC / Mac
to producers when comparing with more software instrument. Thirdly, consider the
traditional sequencers. The overall structure of connection between the devices. For Eurorack
T-1 at first glance, can appear daunting. the CV and Triggers are a typical choice, while a
However spending a little time to understand USB connection is more common for PC / Mac
the overall architecture and its terminology, and MIDI DIN for desktop devices. Remember if
some common functions and pre-requisite using the T-1 USB MIDI connection, this will also
connections will set a good foundation. For this be the power source for the T-1. While a deeper
reason there are no apologies for taking time to dive into the detail of specific functions and
get intimate with the architecture of the overall features is covered in the latter parts of this
device and in bringing this summary upfront in notebook, the overall structural foundation and
this guide. Getting a solid understanding and common topics are laid out in this section. In
taking a holistic view of the T-1 Sequencer’s summary, this section is more about structure
structure and features will help enormously in than creative pattern development. It is therefore
getting to grips later with the detailed parts of worth the investment of time and focus in
the device. Think of the three basic elements understanding the hierarchy and the generic
when using T-1. Firstly the T-1 device itself features in order to get the most out of T-1.
which is setup to control and sequence.

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2 Generic Setup
2.1 Glossary of Terms
While you may think this should be hidden at the back of this book, understanding terminology often
used in the context of general audio production topics and specifically when using the T-1
sequencer will help unlock it’s power and performance. It makes sense to become familiar early with
these terms to speed up learning and to get the most out of the T-1 user experience and workflow.

Ableton Link: Ableton are a DAW developer who Eurorack: The most common standard of modular
introduced the link technology which enables synthesis which comprises of discrete functions
communication between multiple, separate audio rack mounted and connected together with CV /
devices across a WiFi network. Trigger patch cables. Buchla is another alternative
modular standard.
Arpeggiator: A function that automatically
generates ordered sub patterns using a group of Gate: An on/off signal that activates a function.
triggered notes. Used interchangeably with ‘trigger’, although gates
usually activate over longer periods for example as
Beta: A term normally used for pre-release a note on.
software versions used for testing purposes.
LFO: Low frequency oscillator which is a control
Bank: An element that acts as a container to help signal specifically used for modulating parameters.
organise and store the 16 patterns. T-1 has a
maximum of 16 banks available. MIDI: MIDI stands for Musical Instrument Digital
Interface and is a standard protocol used for
Channel: In T-1 the channel refers to the MIDI communicating between audio equipment. MIDI is
communication channel. This ranges from 1-16. normally applied using USB or using a 5 Pin MIDI
DIN. Both are available in T-1 using the USB-C
Control Change. A MIDI standard message which connection or the 5 Pin to 3.5mm adapter.
is applied to change parameter settings. Also
called CC. Modulation: The process of controlling and
manipulating one parameter from the control of
Control Voltage. An analog signal used to control another. This typically allows variations and
parameters and affect their values. Used for movement to be added to a function.
modulation and control, commonly found in
modular rack systems. Also called CV. Monophonic: A mode which allows only the playing
of one note at a time.
Cycles: A cycle is parameter automation that
would be applied to introduce track variations and Mute: Muting offers variations that can be created
changes. A collection of parameter settings are by silencing tracks and patterns especially useful
stored together in a cycle with up to 16 cycles when playing live sets.
available in each track
Note: A musical note is triggered by the sequencer
Denmark: Country in the Northern European area pattern steps and controls and instruments note.
of Scandinavia. It’s capital is Copenhagen. Famous
for innovation, high quality design and mermaids. OS: Operating System is the core firmware that
Also the home of Torso Electronics, creators of T-1. makes T-1 Sequencer work and manages how it
operates.
Euclidean Rhythm: An algorithm that generates a
note pattern based on mathematical calculations. Parameter: The individual value of a specific
In T-1 this uses steps, pulses, rotation / start and function or control element. A parameter can be
division as the parameters to set. adjusted to affect a pattern and steps operation.

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 Generic Setup 2

Pattern: This is the backbone and core of a T-1 Synchronization: In the context of connected audio
sequence and contains one set of steps that forms gear, sync or synchronization refers to how the
a melody or beat. clock timing is aligned between multiple devices.
Typically one device would lead as a primary clock
Perform: A mode in T-1 which supports muting and and other devices would follow. This is commonly
temporary variations through use of two buttons. managed using MIDI or CV Clocks.
Ideal in a live environment and to introduce
improvisations. T-1: An algorithmic sequencer that generates
patterns and melodies that control other audio
Pitch: The audio frequency of notes that gear in a generative and fluid style.
determines its sound within a musical range.
T-1 Config: A Mac or PC based software tool to
Polyphony: The ability to play multiple notes help configure the T-1 Sequencer. Important for
simultaneously on an instrument. For example to firmware updates and I/O configuration.
play chords.
Tempo: The speed at which the overall sequence
Polyrhythm: Two or more rhythms running runs, based on a standard measure of beats per
concurrently in the same cycle but with different minute. T-1 operates between 24 - 280 BPM.
beats or subdivisions
Transport: A term often used to refer to the
Power Bank: A portable rechargeable battery collective controls for play, stop, record, pause
device used to power or recharge portable where available within in systems.
equipment.
Track: A T-1 Sequencer pattern contains 16 tracks.
Probability: The determination of whether an action Tracks help manage the structure and length of a
will occur or not. In a generative sequencer this sequence. Typically tracks contain steps and
can add interest and randomisation. would each be used for individual instruments, e.g.
Drum, Percussion, Bass, Pad etc.
Program Change. A MIDI standard message which
is applied to change banks or patches of a device. Transpose: To change the pitch for a range of
Also called PC. notes. Notes can be transposed up or down a
defined octave range. Can also refer to adjustment
Pulse: Used in T-1 Euclidean pattern generation to up or down for a range of notes on a keyboard.
trigger a note event. This is generally positioned on
a step but can also be expanded further, for Trigger: An on/off signal that activates a function.
example by adding note repeats. Used interchangeably with ‘gate’, although triggers
usually are shorter pulses for example to trigger a
Root note: In musical terms this is a single note short drum hit.
used as the starting reference in an harmonic
scale. Typically a root note would be the lowest Quantization: The alignment of musical elements
note in a chord. to a defined grid or timing structure.

Sequencing: The process of creating a series of Update: The process of installing the newest
actions such as note triggers or parameter firmware. This brings new features and fixes bugs
changes to create melodies or drum beats. associated with previous versions.

Step: A step is a building block in a pattern Velocity: A function which measures how hard a
structure. A series of steps would form a pattern note is played and modulates sound accordingly.
where note events i.e. pulses can be selectively For example hard played notes may sound louder
placed to form a melody or beat. than softly played notes on a piano.

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2 Generic Setup
2.2 Architecture

T-1 Sequencer 16 Banks are available from within T-1 Sequencer

1 16
Bank … Bank

Bank 16 Patterns are available in each Bank

1 16
Pattern … Pattern Tempo
Tempo bound to active Bank

Pattern Each Pattern hosts 16 Tracks

Options for Note, CC, FX Track Modes
1 16
Track … Track Quantize
Quantize bound to active Pattern

Track Each Track hosts 16 Cycles

1 16
Cycle … Cycle Length
Length bound to active Track

Cycle A Cycle is a collection of the T-1 parameter settings

Sequencer Engine Setup Random

Gate / Trigger Velocity Pitch

Euclidean Engine

Steps Pitch
Tonal Base

Pulses
Harmony
Rotate

Division Scale
Note Repeater

Tonal Shaper

Velocity
Groove

Repeats Voicing

Time

Pace Accent Range

Note Repeater

Sustain
Groove

Timing Offset

Delay

Sequence

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 Generic Setup 2
2.3 Functional Relationship
The sequencer engine and the musical parameter settings operate together with dependencies that
help create complex and advanced rhythmic and melodic sequences with an almost endless
number of options.

Think of the first steps being the creation of rhythmic patterns, mainly generated by the Euclidean
sequencer. These patterns trigger notes.

Develop the pattern even further with advanced variations and multiple modulation options to create
and elevate expressive arrangements.

Build on top with the pitch based features to develop beyond a pure rhythmic pattern into a melodic
sequence and progressions. Go even further towards the generative and organic structures and
build live performances which include randomisation.

Euclidean Steps

C
Steps
Groove Note Repeater

R C C R R
Accent Velocity Pulses Repeats Time

Groove Probability Rotate Offset Pace

1 2 3 4 5 6 7 8 ? ? ? ?

Division C
Sustain R

Timing R Rhythmic Pattern Rhythmic

Structure Variations
Chapter 3 Chapter 4
Delay

Track
Length Retrigger
(Sync)

Randomness Tonal Notes Tonal Shaper

R C

Random Scale C Pitch C Style Voicing R

Rate Root Harmony Phrase Range R

Cycles & Melodic Pattern

Progressions
Random Structure
Chapter 7 Chapter 5 Chapter 6

Cycles C

Channel R Tempo

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2 Generic Setup
2.4 Control Overview NOTES

T-1 consists of 18 Rotary / Push knobs and 23 pad buttons.

The control knobs are endless encoders with a ‘click’ on rotation

that adjusts the designated parameter. For example 1 click will
change by +/-1BPM with Tempo. White labels indicate the primary
function. Grey text below indicates the secondary function
accessed by using [CTRL] + (Knob).

Pressing a knob will display the designated parameter state as

shown on the illuminated buttons. Also Turn to adjust while
viewing the parameters setting. This behaviour can be changed in
config settings.

Quickly, double press a control knob to lock the designated

parameter setting display on the value buttons button. This will
release when the same knob is pressed again.

Buttons are pressed to select functions. The colour of the button

illumination will determine the state of the designated function.
Colours will change depending on the context and mode in
currently in operation.
save

Pressing the [BANK] button in any mode will revert to the ‘home’
tracks view mode. This is like a ‘go back’ feature as an additional
function for the banks button in addition to selecting a bank.
bank
ctrl

The [CTRL] button is held with other functions in order to access

the secondary function.

The button illumination state and colour will reflect the current
mode. The 16 Value buttons act as visual feedback indicators to
display available options and settings specific to the mode selected.

1. Press [PLAY] button will play or stop the pattern. The button will
flash white every quarter note when playing. Button is orange if a
Link session is connected and synchronised.
2. Press [CTRL] + [PLAY] excludes MIDI devices, Link send and
analog reset commands.
3. Hold [CLEAR] + [PLAY] to kill any stuck MIDI notes.

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 Generic Setup 2
NOTES 2.5 Banks.
Banks are used to organise patterns and are the highest level of order in
the T-1 structure. T-1 has a total of 16 Banks which operate like folders,
each bank storing up to 16 patterns. With a total of 256 patterns available
in T-1, banks simplify the organisation of patterns and their access.

The 16 Banks are represented by the 16 Value buttons and are directly
linked to the associated library of patterns.

save Hold [BANK] to view the currently active bank and other
available banks, [BANK] will illuminate GREEN ⬛.

bank

The value button of an edited but The value button of the currently
unsaved bank will illuminate PINK ⬛. active bank will illuminate
WHITE ⬛ or Bright PINK ⬛

The value button of an empty bank The value button of an edited and saved
will illuminate DARK GREEN ⬛. bank will illuminate GREEN ⬛.

Value buttons are numbered left to right, top row 1 - 8, and bottom row 9 - 16.

TRACK View - Default ‘home’ View

Default ‘Home’ view in T-1 at power up or after
pressing [BANK] to the track view. The currently
active track is illuminated ORANGE ⬛ for note
tracks, CYAN ⬛ for CC tracks, MAGENTA ⬛ for
FX tracks.

BANK View
Hold [BANK] to display bank view. The value
buttons will mainly be lit DARK GREEN ⬛.

PATTERN View
While still holding [BANK] after selecting a bank,
the pattern selection page is presented, mainly
illuminated DARK BLUE ⬛.

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2 Generic Setup
NOTES

Banks and patterns can be selected within the same process. After
selecting a bank, the pattern selection option is automatically presented.
Bank and pattern numbers are represented by the value buttons 1-16. T-1
will also auto save it’s state but it is good workflow practice to manually
save when building and developing sequences.

▌ SELECTING A BANK AND PATTERN

1. Select a bank. Hold [BANK] + [VBx], where ‘x’ is the bank to select.
Banks are represented by the 16 value buttons. Keep [BANK] Held
through steps 1-3 of this process.

• Currently selected, saved bank is WHITE ⬛. If unsaved the button

may be lit Bright PINK ⬛.

• Available saved banks are GREEN ⬛ and empty bank slots are
illuminated DARK GREEN ⬛.

2. While still Holding [BANK], Press [VBx], where ‘x’ is the pattern to select
within the previously selected bank. Value buttons represent patterns.

• Currently selected pattern is WHITE ⬛.

• Available empty pattern slots are DARK BLUE ⬛ and edited pattern
slots are illuminated BLUE ⬛.

• The pattern pending play is illuminated WHITE ⬛. This is often also

the currently active pattern.

3. If the sequence is playing, the new pattern will be queued to change at

the end of the current pattern. If the sequence is not playing the pattern
is simply selected for editing.

4. Once the bank and pattern is selected release the [BANK] button.

36 The T-1 Notebook : Reference & Guide

 Generic Setup 2
NOTES

▌ SAVING A BANK

1. Edited, unsaved banks will illuminate PINK ⬛ and in addition, will also
flash if the pattern if playing when holding [BANK].

2. To save a bank. Hold [CTRL] + [BANK] + [VBx], ‘x’ is the bank to save.

3. The bank and value button will flash pink indicating the bank is saved
and then turn green or white if it is the selected bank.

4. Release the buttons once save is complete.

▌ RELOADING FROM A SAVED BANK

1. Hold for 1 second, [BANK] + [VBx], where ‘x’ is the current bank to
reload and is represented by value buttons 1-16.

2. The value button will flash green.

3. The previously saved bank in the slot is reloaded.

4. All banks are reloaded at once when the T-1 is powered up while
holding [BANK].

▌ SELECTING A PATTERN

2. Hold [PATTERN] + [VBx], where ‘x’ is the pattern to select within the
current bank. Value buttons represent patterns.

• Currently selected pattern is WHITE ⬛.

• Available empty pattern slots are DARK BLUE ⬛ and edited pattern
slots are illuminated BLUE ⬛.

• The pattern pending play is illuminated WHITE ⬛. This is often also

the currently active pattern.

3. If the sequence is playing, the new pattern will be queued to change at

the end of the current pattern. If the sequence is not playing the pattern
is simply selected for editing.

4. Once the pattern is selected release the [PATTERN] button.

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2 Generic Setup
2.6 Tempo NOTES

The tempo is measured in Beats Per Minute ranging between 24 BPM and
280 BPM. Tempo is a generic parameter, operating across all patterns and
tracks in a bank. The tempo setting is saved within the bank.

▌ VIEWING THE TEMPO

1. Hold (TEMPO). Double Press (TEMPO) will lock the tempo view.

2. The value buttons will display the tempo status. The tempo setting is
shown as BLUE GREY ⬛ on the value buttons and DIMMED BLUE ⬛.

MIN BLUE GREY ⬛ DIMMED BLUE ⬛

24 BPM Tempo Setting Granular increments

The value buttons will display

24 56 72 88 104 120 136 152
incrementally in shades of white
and blue to represent the tempo.
168 184 200 216 232 248 264 280

MAX
280 BPM

▌ CHANGING THE TEMPO

1. To change tempo in 1 BPM increments. Turn (TEMPO). Each knob click

rotation represents 1 BPM. To view and adjust, Hold & Turn (TEMPO).

2. To change tempo in 16 BPM increments. Hold (TEMPO) + Press [VBx]

where ‘x’ is a value button. The first value button is set to the minimum
24 BPM state and the last button 280BPM.

3. The value buttons will display the tempo status. The tempo setting is
shown as DIMMED BLUE ⬛ and the BLUE GREY ⬛ shaded value
buttons.

4. As a quick reset to 120 BPM, Hold (TEMPO) + [VB6].

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 Generic Setup 2
NOTES 2.7 Clear and Copy Bank
There are two editing options that can be applied to multiple T-1 functions.
Copy can be used to duplicate elements such as banks, tracks and patterns
while clear will reset to an empty or default state. The [CLEAR] button will
be used in conjunction with another function and additionally [CTRL] is
used when accessing [COPY]. Examples are shown for banks.

▌ CLEARING A BANK

1. Hold [CLEAR] + [BANK] + [VBx], where ‘x’ is the existing saved bank to
clear represented by value buttons 1-16. Keep [CLEAR] + [BANK] Held
through the process.

2. The value button will flash. Release [CLEAR] + [BANK] to exit without
clearing at this point.

3. With [CLEAR] + [BANK] still held, press [VBx] again to confirm clear.

4. The selected bank is cleared. Clear will permanently remove the banks
and cannot be undone. Unsaved, empty banks are already empty and
cannot therefore be cleared.

Hold [CLEAR] + Target, when using the clear option.

Target is the function to clear.

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2 Generic Setup
NOTES

▌ COPY / PASTE A BANK

1. Hold [CTRL] + [COPY] + [BANK] + [VBx], where ‘x’ is the source bank
to copy. Banks 1-16 represented by value buttons.

2. The value button will slowly flash to indicate copy to the clipboard
memory. Keep holding [CTRL] + [COPY] + [BANK].

3. While Holding [CTRL] + [COPY] + [BANK] + Press [VBx], where ‘x’ is

the destination bank into which to paste the previously copied bank.

4. The value button will quickly flash to indicate the bank has been pasted
from the clipboard memory. Multiple pastes are possible.

5. Release the buttons.

Hold [CTRL] + [CLEAR] + Source bank, to copy.

+ Still Holding [CTRL] + [CLEAR] + Destination, to paste.

40 The T-1 Notebook : Reference & Guide

 Generic Setup 2
NOTES 2.8 Clipboard
The clipboard option allows copying of tracks, parameters and patterns.
This is especially useful for copying tracks and parameters between
patterns and banks and patterns between banks. While the clipboard is
populated the [CLEAR] option does not perform the default clear command
but is used to paste clipboard elements.

▌ COPY TO THE CLIPBOARD

1. Hold [CTRL] + [COPY] + Double Press the item to copy to the clipboard.

• Double tap a (Knob) for a parameter to copy. The [CLEAR] button

will illuminate GREEN ⬛ to signify the clipboard holds a parameter.

• Double tap [VBx] in track view to copy a track. The ‘x’ represents the
value button of the track. The [CLEAR] button will then illuminate
GREEN ⬛ to signify the clipboard holds a track.

• Double tap [VBx] in pattern view to copy a pattern. The ‘x’

represents the value button of the pattern. The [CLEAR] button will
then illuminate BLUE ⬛ to signify the clipboard holds a pattern.

2. Double tap [CLEAR] if required to empty the clipboard.

▌ PASTE FROM THE CLIPBOARD

1. Ensure the item to paste has already been copied to the clipboard. The
[CLEAR] button will be lit GREEN ⬛ or BLUE ⬛ to signify that the
clipboard is populated.

2. Hold [CLEAR] + Press [VBx] for the destination to copy into.

• Press [VBx] in track view to paste to a track. The ‘x’ represents the
value button of the track. The [VBx] button will then flash GREEN ⬛
to signify the track has been pasted from the clipboard.

• Press [VBx] in pattern view to paste to a track. The ‘x’ represents

the value button of the pattern. The [VBx] button will then flash
GREEN ⬛ to signify the pattern has been pasted from the clipboard.

3. Multiple pastes can be applied while ever the clipboard is populated.

4. Double tap [CLEAR] if required to empty the clipboard.

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2 Generic Setup
2.9 Command Quick Reference
Function Action T-1 Sequencer Command Description

General Play / Stop Press [PLAY] Press the play transport button to play or stop a sequence.

General Play - No MIDI Hold [CTRL] + Press [PLAY] Play without sending Start / Stop for MIDI, Link, Analog reset.

Press quickly to exit the current mode and return ‘home’. This
General Exit - Home Press [BANK]
is the track view also the mode selected on start up.

General Secondary Option Hold [CTRL] + Button or + Knob Selects the secondary function of the control, labelled in grey

General Various Hold [VBx] + [VBx] Multiple selections can be made using the value buttons

Where a visualisation on the value buttons exists, double

General Lock display Double Press Knob
press the parameter knob will lock it’s value button display.
Change parameter absolutely for track. Use [PATTERN] +
General Absolute Edit Hold (Knob) + [VBx]
(Knob) + [VBx] to change across all tracks
Change parameter relatively for track. Use [PATTERN] + Turn
General Relative Edit Turn (Knob)
(Knob) to change across all tracks
Clears various functions including tracks, patterns and
General Clear [Clear]
parameters. Hold along with function to clear.
Copies various functions including tracks, patterns and
General Copy [Ctrl] + [Clear]
parameters. Hold [Ctrl] + [Copy] + function to copy.

Bank View Banks Hold [BANK] Value buttons will display state by their illumination colour.

Bank Select Bank Hold [BANK] + Press [VBx] Selects a bank ‘x’ - pattern selection automatically follows

Bank Save Bank Hold [CTRL] + [BANK] + [VBx] Saves the edited, selected bank ‘x’

Bank Reload Bank Hold [BANK] + [VBx] for 1 Sec Reload previously saved stave for bank ‘x’

Bank Clear Bank Hold [CLEAR] + [BANK] + [VBx] Clears bank ‘x’. [VBx] again to confirm.

Copy from ‘x’ source into ‘x’ destination. Keep 3 buttons held
Bank Copy Bank [CTRL] + [COPY] + [BANK] + [VBx]
and value button to copy and then value button to paste into.

Pattern Clear Pattern [CLEAR] + [PATTERN] + [VBx] Clears pattern ‘x’

Copy from ‘x’ source into ‘x’ destination. Keep 3 buttons held
Pattern Copy Pattern [CTRL] + [COPY] + [PATTERN] + [VBx]
and value button to copy, then value button to paste into.

Pattern Select Pattern [PATTERN] + [VBx] Select a pattern from within the existing bank.

Pattern Chain Patterns Press [VBx] + [VBx] + etc Select, in order, the patterns to play in a chained series

Track Select Track Press [VBx] In ‘Home’ track view, to select one track.

Track Multi Track Select Press [VBx] + [VBx] + etc In ‘Home’ track view, simultaneously select multiple tracks.

Track Track Type Press [CTRL] + [VBx] Cycle between Note, CC Track and FX Track

Track Switch Pulse View Double Tap [VBx] for Note Track Switch from note track to pulse view.

Track Switch CC View Double Tap [VBx] for CC Track Switch from CC Track view to CC Sequencer view

Track Switch FX View Double Tap [VBx] for FX Track Switch from FX Track view to chromatic keyboard view

Mute and unmute tracks. Muting takes place when the mute
Track Mute / Unmute [MUTE] + [VBx]
button is released.
Mute and unmute tracks. Muting takes place immediately
Track Quick Mute [CTRL] + [MUTE] + [VBx]
when the buttons are pressed.
42 The T-1 Notebook : Reference & Guide
 Generic Setup 2

Function Action T-1 Sequencer Command Description

Steps View Steps Hold (STEPS) Sequencer view - display steps value button page.

Adjust Euclidean step count up to 16 steps. Also Press & Turn

Steps Edit Steps Turn (STEPS)
to change while visualising.

Steps Edit Steps Hold (STEPS) + Press [VBx] Adjust step count while visualising step sequencer view.

Adjust the step count beyond 16 and up to 64 steps

Steps Extend Steps Hold [CTRL] + Turn (STEPS)
distributed as 16 steps per page, max 4 pages.
In step sequencer view. Bank, Pattern Temp, Mute buttons
Steps Step Pages Hold [CTRL] + Button
represents each step page 1,2,3 and 4 respectively.
Apply a retrigger step when in step view. Resets sequence
Steps Retrigger Step Press [CLEAR]
parameters

Pulses View Pulses Hold (PULSES) Display pulses sequencer view, value button page

Adjust Euclidean pulse count and population while visualising

Pulses Edit Pulses Turn (PULSES)
pulse sequencer view. Also use Press & Turn.
Pulse sequencer view, press value buttons to select / deselect
Pulses Manual Pulses Press [VBx]
pulses. Not affected by Euclidean edits.
Step edit view, to select / deselect step editable pulses and
Pulses Step Edit Mode Press [CTRL] + [VBx]
turn (knob) to lock one or more parameters to a step.

Pulses Step Edit Exit Press [BANK] Exit step edit view and edit mode.

Pulses Rotate Hold [CTRL] + Turn (PULSES) Rotate pattern track start point.

Pulses Note Length Turn (SUSTAIN) Adjust note length with respect to division.

Division Edit Note Division Turn (DIVISION) Adjust the time signature division for the track pattern.

Adjust the time signature division for the track pattern while
Division Edit Note Division Press & Turn (DIVISION)
viewing the value button division status
Adjust the time signature division for the track pattern while
Division Edit Note Division Hold (DIVISION) + Press [VBx]
viewing the value button division status

Division Free Division [CTRL] + Turn (DIVISION) Change the division free form in 96 PPQN resolution

Length Reduce Length Turn (LENGTH) Reduce the sequence length

Length Random Start Press [CLEAR] Sets a random start point when playing. Glitched playback.

Sets a random start point when playing and changing length

Length Random Start [CLEAR] + Turn (LENGTH)
value. Glitched playback.

Velocity Base Velocity Turn (VELOCITY) Set the base velocity for notes

Accent Variation Velocity Turn (ACCENT) Applies the amount of groove template to the velocity profile

Selects one of 8 groove templates. Also use [VBx] when

Groove Select Groove Turn (GROOVE)
displaying groove view.

Timing Micro-timing Turn (TIMING) Adjust the micro timing of some notes earlier or later

Delay Note delay [CTRL] + Turn (DELAY) Adjust all notes earlier or later

Probability Chance [CTRL] + Turn (PROBABILITY) Applies the chance of a note bing silent

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2 Generic Setup
Function Action T-1 Sequencer Command Description

Repeater Add Repeats Turn (REPEATS) Add or remove the number of repeats to a note pulse

Repeater Choke Press (REPEATS) + [VB8] Curtails repeats on a new note

Repeater Tail Press (REPEATS) + [VB16] Overlays repeats on a new note

Repeater Stop [CLEAR] Stops repeats when in repeater view

Time Repeat Time Turn (TIME) Adjust the repeat time division

Offset Repeat Ramps Turn (OFFSET) Adjust the repeater velocity ramp up or down

Pace Repeat Speed [CTRL] + Turn (PACE) Adjust the acceleration or deceleration of repeats

Pitch Assign Notes Hold (PITCH) + [VBx] Add or remove notes into the pitch menu

Pitch Transpose Notes Turn (PITCH) Transpose per note, the notes in the pitch menu

Harmony Chord variation Turn (HARMONY) Adjust chord variations from pitch menu notes

Scale Change Scale Hold (SCALE) + [VBx] Select an alternate scale

Root Root Note [CTRL] + Turn (ROOT) Select an alternate root note in the selected scale

Style Pitch Template [CTRL] + (STYLE) + [VBx] Select one of 6 style templates for melodic variations

Voicing Style amount Turn (VOICING) Amount of style transformation

Phrase Melodic phrase [CTRL] + (PHRASE) + [VBx] Selects one of 8 phrase templates for melodic patterns

Range Note range Turn (RANGE) Amount of note variation from phrase

Temporarily adjust parameters and restores setting when

Temp Performance Hold [TEMP] + Turn (Knob)
released. Ideal for performance actions.

Cycles Edit Cycle Tap [VBx] for Cycle Select on or more cycles to edit

Increase or decrease number of available cycles. Also set the

Cycles Number of Cycles [CTRL] + Turn (CYCLES)
absolute cycle number [CTRL] + (CYCLES) + [VBx]

Cycles Delete [CLEAR] + [VBx] In cycle view, clear a cycle parameter edits

Random Randomisation Hold (RANDOM) + Turn (Knob) Apply randomisation to the parameter

Random Variance Turn (RANDOM) Adjust random sequence variance probability

Random Apply Slew [CTRL] + (RANDOM) + Turn (Knob) Apply a slew smoothing to sequence steps

Random Phase Shift Hold (RANDOM) + (Knob) + [VB8] Phase shift random sequence earlier

Random Phase Shift Hold (RANDOM) + (Knob) + [VB16] Phase shift random sequence later

Channel MIDI Channel Hold (CHANNEL) + [VBx] Set the MIDI channel(s) for the track. Also Turn (CHANNELS)

Route track out to track input. Sets track to input to from

Channel Routing Hold [CTRL] + (CHANNEL) + [VBx]
currently selected track.

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 Generic Setup 2
NOTES 2.10 Button Colour Reference.
The T-1 Value buttons offer a visual feedback based through their
illuminated colour. The actual colour will be based on the status and the
mode currently in operation as indicated in this quick reference guide.

Note Track CC Track FX Track Track Tracks

Active Track Active Track Active Track Muted Not Selected
Tracks is the default ‘home’ view
Blue when T-1 is initially powered up
Orange Cyan Magenta Off
Grey
and when pressing [BANK]

Tracks

Pattern Pattern Pattern Chained Playing Pattern

Active / Queued Empty Pattern Edited Pattern Pending Play Flashing

Dark Bright
White Blue
Blue Blue

Pattern

Bank Bank Bank Edited

Active Bank Empty Bank Saved Bank Unsaved

Dark
White Green Pink
Green

Bank

Steps Pulses Playhead Steps Pulses

Active Steps Note Pulses Position Active Steps Note Pulses

Dimmed Blue Blue

White Orange
Blue Grey Grey

Shape - Euclidean (Step View) Shape - Euclidean (Pulse View)

Note Value Note Value Division Division

Quadruplets Triplets Active Div Free Running

Blue
Blue White Pink
Grey

Shape - Division

Cycle Cycle Playing Cycle Cycle

Number Playing Cycle Active Cycle Edited

Blue
White Red
Grey

Shape - Cycles

Repeats Repeats Page Repeat Choke Mode Tail Mode

Number Infinite Repeat Page Active Top Button Bottom Button

Blue
Blue Orange White Pink Pink
Grey

Shape - Repeats Shape - Repeat Mode

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2 Generic Setup
NOTES
Repeat Time Repeat Time Repeat Time Quantize Pace Pace Pace
Quadruplets Triplets Active Time Time Fine Resolution Active Fine Res Active Course

Blue Blue
Blue White Pink White Orange
Grey Grey

Shape - Repeats Time Shape - Repeat Pace

Order Up Order Down Note Order Note Order

Top Button Bottom Button Active Selection Page

Pink Pink White Orange

Shape - Voicing

Poly Styles Mono Styles Cadence LFO’s Phrase Phrase / Style

Top 3 Btns Bottom 3 Btns Top 4 Btns Bottom 4 Btns CV Controlled Active

Dark Dark Dark Dark

Pink White
Green Green Green Green

Shape - Style Shape - Phrase

Rate x2 Rate /2 Pitch Variation Pitch Variation

Top Button Bottom Button Active Selection Page

Pink Pink White Orange

Shape - Range

Velocity Sustain Note Phase Probability Probability

Active 0-127 Lit Active Notes to Silence Active Selection Page

Blue Blue
Grey Grey
Pink White Orange

Groove Groove Probability

Accent Accent Accent Accent Groove 1-4 Groove 5-8 Groove

Top Button Bottom Button Active Selection Page Top Buttons Bottom Buttons CV Control

Dark Dark
Pink Pink White Orange Pink
Green Green

Groove - Accent Groove

Micro-Timing Micro-Timing Micro-Timing Micro-Timing Delay Delay Delay

Sub-divisions Active Course Adjust Fine Adjust Active Fixed Internals +/- Options

Blue Blue
Pink White Orange White Orange
Grey Grey

Groove - Timing Groove - Delay

Pitch Notes Pitch Notes Pitch Notes Notes Octave

Black Keys White Keys Selected Out of Scale Up / Down

Blue
Blue White Orange Pink
Grey

Tonal - Pitch

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 Generic Setup 2
NOTES
Scale Scales Scales Scale
Active Chro, Maj, Min Other Scales User Defined

Blue
White Blue Pink
Grey

Tonal - Scale

Root Note Notes Notes

Selected Black Keys White Keys

Pink Blue White

Tonal - Root

Mod Sequence Amount Modulation Mod Range Modulation

Amount Phase Shift -100% to 100% Active Amount

Blue Blue
Pink Pink White
Grey Grey

Randomness Randomness + Other Parameter

Random Rate Random Rate Rate

Quadruplets Triplets Active

Blue
Pink White
Grey

Randomness - Rate

Length Length Length Length Quantize Quantize Quantize

In Bars Bar Divisions Active Infinite In Bars Bar Divisions Active

Dark Dark
Green White Blue Green White
Green Green

Setup - Length Setup - Quantize

MIDI Channel MIDI Channel Tempo

Active Available Active

Dark Blue
White
Green Grey

Setup - Channel Tempo

The T-1 Notebook : Reference & Guide 47

 NOTES

48 The T-1 Notebook : Reference & Guide

 3
Rhythmic Patterns
Tracks and patterns work together for engine coupled with arpeggiation and other
developing drum beats and melodic pattern features added to further more melodic
progressions. Patterns are located in banks parts. Traditional step programming of pattern
where each bank holds 16 patterns, each of events is also possible but T-1’s core strength
which contains 16 tracks. A pattern is a lies with fluid and organic pattern generation.
sequence of events that triggers within one or This section focusses on the core elements of
more tracks. Think of tracks as the location for rhythmic pattern generation. This is primarily
individual instrument control and parameters focussed around Euclidean sequencing. A
settings. For example, a Kick, Snare, Hi Hat multitude of parameter controls combine to
may be constituent instruments within a pattern develop evolving and inspiring sequences and
triggering a complete drum beat. Each part I.e later more variations and modulation can be
Kick could be an individual instrument track. added. T-1 can be central to a setup and operate
Multiple patterns can then provide variations as ‘the instrument’. Mastering pattern generation
and passages in a full song arrangement. can become an integral part of the art of music
Strictly speaking, a track can be set to trigger making and also an enjoyable and fun part of the
more than one instrument. In fact multiple creative journey. This section will concentrate on
devices can be triggered from a single track. the fundamentals of patterns and tracks and
However as a starting point it is good to initially building linear rhythmic patterns - mainly single
think of tracks and patterns in their simplest note or beat orientated sequences.
form. Rhythmic patterns are created in T-1
using a generative Euclidean sequencing

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3 Rhythmic Patterns
3.1 Patterns v Tracks NOTES

There are 16 patterns per bank, each pattern contains 16 tracks. Patterns
control the sequencing part while tracks control the musical part and the
final output. Tracks can be set to control note information, MIDI CC -
Control Change messages and FX for incoming MIDI. Patterns can be
changed or chained in series to create a full arrangement for example intro,
verses, chorus etc.

BANK 1 Tempo parameter stored at bank Level

PATTERN 1 Quantize parameter stored at pattern Level

Other parameters stored at track Level

Sequence Data Music & Channel Data Output

Track 1 MIDI Channel 1

Track 2 MIDI Channel 1

Track 3 MIDI Channel 2

Track 4 MIDI Channel 2

Track 5 MIDI Channel 2

Track 6 MIDI Channel 3

Track 7 MIDI Channel 4

Track 8

Track 9

Track 10

Track 11

Track 12

Track 13

Track 14

Track 15

Track 16

PATTERN 2 Tracks

etc Tracks operate in parallel, patterns operate in series

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 Rhythmic Patterns 3
NOTES

When creating patterns the track must be selected to edit the specific part
of the pattern. The pattern can be created and edited over 4 visible pages
each with 16 steps. Therefore 64 steps in total.

What is a Step?

A step in T-1 is the location within a pattern where an event can be setup to
occur. This can be a note or control change event. Steps are laid out in the
defined divisions and are empty unless edited with a pulse or locked to
specific parameter values.

What is a Pulse?

In T-1 a pulse refers to an event which is applied to a step. The step is no

longer empty and when the play head reaches the pulse, an event is
triggered. This will typically play a melodic note or drum beat or contain a
parameter change.

Step Sequencer View.

The default view in T-1 is the Tracks view. When pressing or turning
(STEPS) or (PULSES), the step or pulse sequencer view is displayed. The
value button view for the step sequencer will differ slightly depending on the
mode selected.

Sequencer View Modes.

DIMMED BLUE ⬛ BLUE GREY ⬛

Steps Euclidean & Step Edit Pulses

Step View
Hold (STEPS). Double tap (STEPS) to
retain the value button display.

WHITE ⬛ OFF
Playhead position Inactive Steps

ORANGE ⬛ BLUE GREY ⬛

Euclidean & Step Edit Pulses Active Steps

Pulse View
Hold (PULSES). Double tap (PULSES)
to retain the value button display.

RED ⬛ Flashing step indicates

Step Edited active step selected to edit

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3 Rhythmic Patterns
NOTES

All tracks will play together in parallel controlled by a segment of the entire
pattern. One pattern will operate singularly while other patterns can be
queued or chained in series. The next pattern will play when the prior
completes. Patterns are by default 16 steps in length but can be extended
up to 64 steps or reduced. The quantize option is managed at pattern level.

Patterns will play and loop from the first designated step (defined by rotation)
through to the last designated step (based on number of steps defined) and
then restart back to the first step.

16 1

13 4
Pulse View 12 5

9 8

1 4 5 8

9 12 13 16

Each track can have an individual step count and settings which can help
create interesting polyrhythms and sequences.

Track 1 Track 2 Track 3

16 1 7 1 12 1

16 Steps 7 Steps 12 Steps

4 Pulses 3 Pulses 7 Pulses

Think in terms of a track being the ‘instrument’ mainly managed in the tonal
section. Think of a pattern as the ‘melody’. Rhythmic elements in the
pattern are mainly managed in the shape section. The quantize option is
only managed at pattern level.

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 Rhythmic Patterns 3
NOTES 3.2 Euclidean Sequencing Concept
A sequence is a series of note events built within a pattern. T-1 uses a
number of generative models to develop a sequence. These models can be
combined to create elaborate and evolving patterns. Traditional note
placement is also possible. Two fundamental concepts used in T-1 are
Euclidean sequencing and Arpeggio’s. T-1’s parameters and setting build
on and around these models.

What is Euclidean Sequencing?

Euclidean geometry is a mathematical theory developed by Greek

mathematician Euclid. These formulas and applications have been
developed and evolved over time to become part of musical sequencing
algorithms.

At first glance this may appear complex, but basic Euclidean sequencing is
actually quite simple. Essentially this model is based on the number of
steps in a pattern divided by the number of events. The events are then
spread as evenly as possible across the length of the pattern. Layering
patterns can then create interesting and intricate sequences.

Pattern = 16 Steps

1 16

Events = 5 16/5 = 3.2 Intervals. Population in reality is rounded.

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3 Rhythmic Patterns
NOTES

How is Euclidean Sequencing Applied in T-1?

The SHAPE section of T-1 hosts parameters that define pattern structures
and their components. Here there are 4 core parameters that form the
foundation for T-1 Euclidean sequencing.

• Steps: Total number of steps within the patterns cycle for each track.
The range is 1-16 and by default is set to the maximum 16 steps.
Steps are presented as DIMMED BLUE ⬛ when pressing (STEPS).

• Pulses: A pulse is a note event. Empty steps trigger nothing while a

pulse will trigger an note event to create beats and melodies.
Number of pulses can be generated and are automatically spread
evenly across the total number of available steps. Pulses are
presented in ORANGE ⬛ when pressing (PULSES).

• Rotate: The starting point or first step in the pattern.

• Division: This is the division value between each note step and sets
the timing of each step in the pattern. Press (DIVISION) to see the
current setting, illuminated in WHITE ⬛.

Pulse View

Pattern = 16 Steps
1

Rotate Division

Pulses = 5 Division = 1/16th Default

16

There are many other parameters than can build on and expand the
Euclidean pattern. These will be covered later in more detail.

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 Rhythmic Patterns 3
NOTES 3.3 Selecting & Playing Patterns
Selecting a pattern is an integrated part of the bank selection process.
Patterns can also be individually selected both for playback and for editing.
Patterns selected will play in series, one after the other, while tracks play
simultaneously, in parallel within the pattern.

▌ SELECTING A PATTERN FOR EDITING - PATTERN STOPPED

1. Select a pattern. Hold [PATTERN] + Press [VBx], where ‘x’ is the value
button that represents the desired pattern.

2. While [PATTERN] is held, the state can be viewed on the value buttons.
Press [PATTERN] twice to lock the pattern view.

3. The currently selected pattern will be represented by the WHITE ⬛ lit

value button.

4. Patterns edited, with content are lit BLUE ⬛. Empty patterns are lit
DARK BLUE ⬛.

5. Select pattern can be edited.

WHITE ⬛ BLUE ⬛
Selected Pattern Edited Patterns

Pattern View
Press [PATTERN], Double Tap
[PATTERN to lock view. Shows the
selected and available patterns.

DARK BLUE ⬛ BRIGHT BLUE ⬛ The playing pattern will flash white.
Empty Patterns Chained Patterns

▌ PLAYING A PATTERN

1. Press [PLAY]. The selected pattern will play and loop.

2. The active playing pattern will be represented by the WHITE ⬛ flashing

value button. Viewed in the pattern page by holding [PATTERN].

3. To queue a pattern for playback. While playing, Hold [PATTERN] +

Press [VBx], where ‘x’ is the value button that represents the desired
pattern to play next. Double press [PATTERN] to lock pattern view.

4. The queued pattern will be lit WHITE ⬛ until the previous pattern
concludes. The new pattern will flash when playing starts.

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3 Rhythmic Patterns
NOTES

▌ SELECTING A PATTERN FOR EDITING - PATTERN PLAYING

1. Select and play a pattern. Hold [PATTERN] + Press [VBx], where ‘x’ is
the value button that represents the desired pattern.

2. While [PATTERN] is held, the state can be viewed on the value buttons.
Press [PATTERN] twice to lock the pattern view.

3. The currently selected and playing pattern will be represented by the

WHITE ⬛ flashing value button.

4. If T-1 is playing, the selected pattern will be queued to play following

conclusion of the current pattern. The selected and queued pattern will
be lit static WHITE ⬛ and can be edited.

5. To select without playing the pattern. While the pattern plays,

Hold [CTRL] + [PATTERN] + Press [VBx], where ‘x’ is the value button
that represents the desired pattern.

▌ CHAINING PATTERNS

1. Press [PLAY]. The selected pattern will play and loop.

2. The active playing pattern will be represented by the WHITE ⬛ flashing

value button. Viewed in the pattern page by holding [PATTERN] or
double press [PATTERN] to lock pattern view.

3. To create a chain of multiple patterns to play in order.

With pattern view locked, Press [VBx] of the first pattern + Press [VBx]
of the second pattern + Press [VBx] of the third pattern etc. All buttons
must be held simultaneously, but pressed in a defined order before
releasing.

4. The chained patterns will be lit BRIGHT BLUE ⬛ while the chain is
active. The actively playing pattern in the chain will flash WHITE ⬛
when playing starts.

5. The chained patterns will loop playback in the order they were selected.

6. Select a pattern to release the chain.

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 Rhythmic Patterns 3
NOTES 3.4 Selecting Tracks
Pattern segments that will control each of the 16 tracks. The default view
when powering T-1 up is the track view. Track selection would therefore be
the first task in the process of building a sequence. Tracks can be edited
individually or multiple tracks edited together.

A track can operate in 3 modes; Default note sequencer mode, CC Mode

for controlling MIDI control change output messages and FX Mode to affect
incoming MIDI. Modes operate on the track in parallel so, for example
notes in the track can still play while operating in CC mode.

Track View

ORANGE ⬛ CYAN ⬛
Selected Note Track(s) Selected CC Track(s)

Track View
Default ‘home’ view. Shows the selected
track(s) on the value buttons. Mode
shown by colour of the track button.

MAGENTA ⬛
Selected FX Track(s)

Tracks that are not selected are shown unlit on the value buttons. One or
more tracks can be selected simultaneously and will illuminate in the
representative track mode colour.
ORANGE ⬛
Selected Note Track(s)
Double tap Note Track to
switch to pulse sequencer

[CTRL] + [VBx]
Selected when [CTRL] is released

MAGENTA ⬛ CYAN ⬛
Selected FX Track(s) Selected CC Track(s)
Double tap FX Track to Double tap CC Track to
switch to chromatic keyboard switch to CC Sequencer

In Track view, double tapping the track button will switch to the pulse
sequencer view for note tracks and CC sequencer for CC Tracks. In the
case of an FX track, double tapping the value button will switch to the
chromatic manual pitch keyboard.

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3 Rhythmic Patterns
NOTES

▌ SELECTING ONE OR MORE TRACKS

1. Press [BANK] to ensure the ‘home’ track view is in focus. The track view
will be shown by default at start up. Currently playing tracks will flash.

2. Select a track. Press [VBx], where ‘x’ is the value button that represents
the desired track. Example, Press [VB1] to select Track 1.

3. The selected track will illuminate:-

• ORANGE ⬛ for normal sequencer mode for tracks.

• CYAN ⬛ for MIDI CC - Control Change mode for tracks.

• MAGENTA ⬛ for MIDI FX mode for tracks.

4. To toggle between the normal note sequence, MIDI CC or MIDI FX

modes, Hold [CTRL] + Press [VBx] where ‘x’ is the value button that
represents the desired track. The track will cycle between the modes
from each button press iteration. Track mode is only selected as active
when the [CTRL] button is released.

5. To select multiple tracks for simultaneous editing. Hold [VBx] + [VBx],

where ‘x’ is the value buttons that represents the desired tracks to
select. Example, Press [VB1] + [VB2] to select Track 1 & 2. The
selected tracks will illuminate ORANGE ⬛ or CYAN ⬛ or MAGENTA ⬛.

▌ SWITCHING FROM TRACK TO PULSE VIEW

1. Press [BANK] to ensure the ‘home’ track view is in focus. The track view
will be shown by default at start up. Currently playing tracks will flash.

2. Select a track’s pulse view. Double tap [VBx], where ‘x’ is the value
button that represents the desired track. Example, Press [VB1] to select
Track 1.

3. The view will switch from track view to the pulses sequencer view.

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 Rhythmic Patterns 3
NOTES

When multiple tracks are selected parameters can be adjusted. The

behaviour of the parameter changes is dependant on how the change is
applied. Relative editing adjusts a parameter value up or down from its
current position. Absolute editing set a definitive value for the parameter.

▌ MULTI-TRACK PARAMETER EDITING

1. Relative editing.

• Turn a (Knob) to adjust the parameter, relative to its current value

up or down. The parameter is affected only on selected tracks.

• Hold [PATTERN] + Turn (Knob) to adjust the parameter, relative to

its current value up or down. The parameter on all tracks is affected.

2. Absolute editing.

• With the parameter settings in view i.e. double press (Knob). Press
a [VBx] to adjust the parameter. Using the value button selection will
set an absolute value, only across selected tracks.

• Hold [PATTERN] + Double Press (Knob), then Press [VBx] to adjust

the parameter. Ensure [PATTERN] is held throughout. Using the
value button selection will set an absolute value, across all tracks.

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3 Rhythmic Patterns
3.5 Steps, Pulses & Rotate - Basic Euclidean Patterns NOTES

Shape Section

The shape section is the primary area for the pattern generation
parameters and is where a melodic or beat driven pattern cycle is created.
At this point, these parameters control the patterns ‘linear note’ structure
and the pitch based elements are applied later using other parameters.
There are 8 physical push knobs, some of which provide dual control of
primary and secondary parameters and can be pressed to view the
parameter status on the value buttons.

This section concentrates on four of the most basic shape parameters;

Steps, Pulses, Rotate and Division. The Rotate parameter is accessed as
the secondary parameter using the [CTRL] button along with Pulses.

1 3

Parameter Turn Push Ctrl + Turn

Sets total number of Step sequencer view.
1 steps
steps in track pattern. Shows steps and pulses.

pulses Number of Euclidean Pulse sequence view.

2 Sets pattern start point.
rotate pulses in a track pattern. Shows steps and pulses.

Adjusts each note value View division status and

3 division
of each step in the cycle. options in value buttons.

Pulses and Rotate are controlled by the same physical knob. Rotate is the secondary
function accessible using [CTRL].

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 Rhythmic Patterns 3
NOTES
Steps & Pulses

The following examples assume that an audio device, DAW or instrument is

connected as the sound destination. Also that bank and pattern to edit have
already been chosen prior to selecting the track and creating a pattern.

Note that editing a Euclidean pattern will only change the pulses generated
by the Euclidean pulse option. Manually added pulses will not be affected
when editing using the (PULSES) function.

▌ CREATING A BASIC EUCLIDEAN PATTERN - STEPS / PULSES

1. Press [BANK] to ensure the ‘home’ mode is in focus.

2. Select a track. Press [VBx], where ‘x’ is the value button that represents
the desired track. Example, Press [VB1] to select Track 1.

3. Set the number of steps. Turn (STEPS). This will also temporarily
display the state of the pattern whilst editing. Alternatively, Hold
(STEPS) + Press [VBx] where ‘x’ is the last step in the step count,
represented by the value buttons.

• Press (STEPS) Twice, will retain the step sequence view even when
the control knob is released.

• Just turning (STEPS) adjusts the number of steps. Any existing

euclidean pulses are redistributed equally.

4. Generate Euclidean pulse events. Turn (PULSES). This will also

temporarily display the state of the pattern whilst editing. Each rotation
click clockwise will add a pulse and each rotation click anti-clockwise
will remove a pulse. Pulses are distributed evenly across the steps.

• Press (PULSES) Twice, will retain the pulse sequence view even
when the control knob is released.

• Just turning (PULSES) adjusts the number of Euclidean pulses.

• Holding [PATTERN] while adjusting (PULSES), or by holding

(RANDOM) + (PULSES) will only adjust the value if one or more
pulses already exist on the track. If no pulses exist, additional
pulses cannot be added and the random value cannot be adjusted.

5. Play the pattern. Press [PLAY]. Press again to stop playback. Press
[PLAY] again to re-start playback from the beginning.

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3 Rhythmic Patterns
NOTES
Rotate

The start point in a Euclidean pattern can be rotated. While this is ok for
adjusting a fixed patterns start, it is even more interesting as a performance
option by making adjustments on-the-fly.

Note that changing the start using the (ROTATE) function will effectively
play as if both Euclidean and manual pulses are shifted in the track.

▌ ADJUSTING START OF A EUCLIDEAN PATTERN - ROTATE

1. Press [BANK] to ensure the ‘home’ mode is in focus.

2. Select an existing track to edit. Press [VBx], where ‘x’ is the value
button that represents the desired track. Example, Press [VB1] to select
Track 1 for editing.

3. Optionally view the pulse sequence. Double tap (PULSES) to retain the
pulse sequence view even when the control knob is released.

4. To rotate the start point. Press [CTRL] + Turn (ROTATE). Each rotation
click clockwise will shift the entire track pattern one step later. Each
rotation click anti-clockwise will shift by one step earlier. When rotating,
a pulse at the start will wrap around to the end or a pulse at the end will
wrap around to the start depending on direction of rotation.

First Step Rotation

Original Pattern State

1 Step Rotation to Start Earlier. 1 Step Rotation to Start Later

Anti-Clockwise Clockwise

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 Rhythmic Patterns 3
NOTES
Extending Pattern Step Count

The default sequence length is 16 steps but can easily be adjusted with the
(STEPS) control. A maximum of 64 steps are available managed in groups
of 16 steps, and made visible through 4 pages. Pages are accessed with
the bank, pattern, temp and mute buttons. Euclidean pulses are re-
distributed when extending steps.

Extend step count:

Hold [CTRL] + Turn (STEPS) +

Pattern 1-16
Default Double tap (STEPS) to lock the view

PAGE 1
1 Show Steps 1-16
Hold [CTRL] + [BANK]

16

Pattern 17-32

PAGE 2
17
Show Steps 1-16
Hold [CTRL] + [PATTERN]

32

Pattern 33-48

PAGE 3
33
Show Steps 1-16
Hold [CTRL] + [TEMP]

48

Pattern 49-64

PAGE 4
49
Show Steps 1-16
Hold [CTRL] + [MUTE]

64

View step pages:

Hold (STEPS) + [CTRL] + Page Button
Or if steps view is locked by double tapping (STEPS), then use [CTRL] + Page Button.

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3 Rhythmic Patterns
NOTES

▌ EXTENDING STEP COUNT

1. Optionally lock the step sequencer view. Double tap (STEPS). This is
not essential but is good practice to view the step state. Active steps are
displayed DIMMED BLUE ⬛ and active euclidean pulses will be lit
BLUE GREY ⬛.

2. Extend step count. Hold [CTRL] + Turn (STEPS). The number of steps
are extended by turning clockwise, 1 step per knob ‘click’. The number
of steps are reduced by turning anti-clockwise. Inactive steps will not be
illuminated at all.

3. Step pages. While holding [CTRL] when in step sequencer view, the
current page is indicated by the page button lit WHITE ⬛. The page in
view can be selected by holding [CTRL] and pressing the associated
page button. This only selects the page in view and does not change
active / inactive steps in the pattern. Page buttons are:-

• Page 1: Steps 1-16 - Default. Select with [BANK].

• Page 2: Steps 17-32. Select with [PATTERN].

• Page 3: Steps 33-48. Select with [TEMP].

• Page 4: Steps 49-64. Select with [MUTE].

4. Quick edit step count. If the view is not locked to step sequencer view,
the step pages can be quickly displayed by [CTRL] + Press (STEPS).
To quickly select a step page, Hold [CTRL] + (STEPS) + Page button.

5. In step page view, press [VBx] value button for the last step in order to
extend or shorten the step count.

PAGE 1 PAGE 2 PAGE 3 PAGE 4

+ +
steps

PAGE 1

16

Illustration shows Page 1 - Steps 1-16 is selected in view on the value buttons

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 Rhythmic Patterns 3
NOTES 3.6 Per Step - Manual Editing Patterns
Per Step editing makes it possible to manually enter pulses as opposed to
Euclidean pulse generation. Not only can pulses be individually placed but
also the parameter settings for each pulse can be set individually. In fact
parameters can be set per step, even without a pulse being present on the
step. Pulses entered for manual per step sequencing can be rotated but will
not be affected when changing Euclidean pulses.

In summary:

• Euclidean generated pulses can be removed and added by turning

the (PULSES) knob. Step editing applies manually placed pulses.

• Per-Step editing also extends to the parameters which can be

applied to each step, irrespective of whether a pulse is placed on
the step or not. Outside of per-step editing mode, parameter
changes are applied globally to all steps.

• Parameters excluded from per-step editing mode; Tempo, Delay,

Length, Quantize.

• Pulses are added and removed from a pattern by manual per step
sequencing using the value buttons when in pulse sequencing view.

• Pulses added manually cannot be removed by the Euclidean

(PULSES) knob and can only be removed manually using the value
buttons.

• Pulses added both manually or by Euclidean generation can be

rotated using the (ROTATE) knob.

Euclidean sequenced cycles created by added pulses by turning

the (PULSES) knob. Remove by turning (PULSES).

ORANGE ⬛
Euclidean or Per Step Pulses

BLUE GREY ⬛ RED ⬛

Steps Parameter Edited Step

Manual - per step sequenced cycles created by pressing the

[VBx] Value buttons to add / remove pulses. Selected pulse
flashes, as does the bank button to indicate edit mode.

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3 Rhythmic Patterns
NOTES

▌ MANUAL PER STEP SEQUENCING - PULSES

1. Display pulse step sequencing view on the value buttons by Double

Tapping (PULSES) knob. This will retain the pulse step sequence view.
Euclidean pulses and Per Step pulses are indicated in ORANGE ⬛.

2. Add a pulse manually. Press [VBx] where ‘x’ is the value button
representing an empty step, shown as BLUE GREY ⬛. The pulse is
added to the selected step and will illuminate ORANGE ⬛.

3. Deactivate a pulse manually. Press [VBx] where ‘x’ is the value button
representing a pulse. Note that any parameter step edits will remain,
although the step is deactivated.

4. To enter Per Step edit mode, Press [CTRL] + [VBx].

5. The selected step will flash ORANGE ⬛ to indicate the step is selected
for editing. The [BANK] button will flash RED ⬛ to indicate per step edit
mode is active. A pulse is also added to the step.

6. If required multiple steps can be selected to edit together.

Hold [CTRL] + [VBx] + [VBx] simultaneously, where ‘x’ represents each
step to select.

7. To edit the selected, flashing pulse, Turn the (Knob) for one or more
parameters to adjust. The parameter change is locked to the step. The
Step will illuminate RED ⬛ to indicate one or more parameters are
locked to the step..

8. To clear a pulse and its edits manually, Hold [CLEAR] + [VBx] where ‘x’
is the value button representing the step to clear. This will remove the
pulse and reset parameters. This will exit step edit mode if active.

9. Press [BANK] to exit per step edit mode. Outside of per-step editing
mode, parameters are changed globally on all steps.

Pulse Mode. No parameter edited pulses.

Hold [CTRL] + [VBx] to enter step edit mode.

Step Edit Mode. Parameter edited pulses.

Per-step editing is possible with Note or CC Tracks, selected in the track view.

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 Rhythmic Patterns 3
NOTES

▌ MANUAL PER STEP SEQUENCING - PARAMETER STEPS

1. Display pulse step sequencing view on the value buttons by Double

Tapping (PULSES) knob. This will retain the pulse step sequence view.
Euclidean pulses and Per Step pulses are indicated in ORANGE ⬛.

2. Add a pulse manually. Press [VBx] where ‘x’ is the value button
representing an empty step, shown as BLUE GREY ⬛. The pulse is
added to the selected step and will illuminate ORANGE ⬛.

3. To enter Per Step edit mode, Press [CTRL] + [VBx].

4. The selected step, flashes ORANGE ⬛ to indicate the step is selected

for editing. The [BANK] button flashes RED ⬛ to indicate per step edit
mode is active. A pulse is also added to the step.

5. If required multiple steps can be selected to edit together.

Hold [CTRL] + [VBx] + [VBx] where ‘x’ is each step to select.

6. To edit the selected, flashing pulse, Turn (Knob) for one or more
parameters to adjust. The parameter change is locked to the step. The
Step will illuminate RED ⬛ to indicate one or more parameters are
locked to the step. Ensure pulse view is locked to edit.

7. Press [BANK] to exit per step edit mode. Outside of per-step editing
mode, parameters are changed globally on all steps.

8. Deactivate a pulse manually. Press [VBx] where ‘x’ is the value button
representing a pulse. Any parameter step edits will remain, although the
pulse is deactivated. The step will apply the parameter change without
a pulse. These steps can be viewed by holding [CTRL].

9. To clear a pulse and reset its parameters, Hold [CLEAR] + [VBx]. The ‘x’
is the value button representing the step to clear.

Pulse Mode. Parameter edited steps with no

active pulse are not visible but still exist.

Pulse Mode. Hold [CTRL] to view

parameter edited steps lit red

Per-step editing is possible with Note or CC Tracks, selected in the track view.

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3 Rhythmic Patterns
NOTES
3.7 Division - Pattern Time Signatures
A pattern is made up of a sequence of steps where the note value of steps
is governed by the division parameter. This sets the tracks time signature.
The default state is 1/16th but other options are available using the value
buttons or parameter knob. State and options are viewed by pressing
(DIVISION). Double tap (DIVISION) to lock the value button division view.

Division View Mode.

BLUE GREY ⬛ WHITE ⬛

Quadruplets Selected division

Division View
1/1 1/2 1/4 1/8 1/16 1/32 1/64 Hold (DIVISION). Double tap (DIVISION)
to retain the value button display.
1/3 1/6 1/12 1/24 1/48

OFF BLUE ⬛
Inactive Option Triplets

▌ SELECTING A DIVISION SETTING

1. Optionally lock the division view. Double tap (DIVISION). This is not
essential but is good practice. Just holding (DIVISION) will temporarily
view the state until the knob is released.

2. Value button state. The active division is displayed on a value button

illuminated WHITE ⬛. Top row BLUE GREY ⬛ Indicates available
quadruplet divisions and bottom row BLUE ⬛ available triplets.

3. Selecting a division option. Turn (DIVISION) to quickly view and

change. When in locked division view, Press [VBx] Where ‘x’ is value
button 1-7 or 11-15 to select row and division.

4. The division can also be set freely with a resolution of 96 PPQN. Hold
[CTRL] + Turn (DIVISION) to adjust. The WHITE ⬛ Status value button
will flash when a free division is applied.

Division Options Group Value Button Option Colour

1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64 Quadruplets 1, 2, 3, 4, 5, 6, 7 BLUE GREY ⬛

1/3, 1/6, 1/12, 1/24, 1/48 Triplets 11, 12, 13, 14, 15 BLUE ⬛

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 Rhythmic Patterns 3
NOTES
Division Time Signatures

1/1

1/2
QUADRUPLETS - 4 Beats per Bar

1/4

1/8

1/16

1/32

1/64

1/3

1/6
TRIPLETS - 3 Beats per Bar

1/12

1/24

1/48

Example: 4 Bar / 16 Step Length

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3 Rhythmic Patterns
NOTES
3.8 Length
The length parameter allows the reduction of the entire track length either
as a fixed adjustment or to create on the fly variations and loops. The
behaviour will of course depend on the total number of steps, especially
when reducing in full bar lengths.

GREEN ⬛ WHITE ⬛
Bar Selected Option

Length View
1 2 3 4 5 6 7 8
Hold (LENGTH). Double tap (LENGTH)
to retain the value button display.
inf 1/2 1/4 1/8 1/16 1/32 1/64 16

BLUE ⬛ DARK GREEN ⬛

Infinite Division of Bar

▌ REDUCING THE TRACK LENGTH

1. Optionally lock the length view. Double tap (LENGTH). This is not
essential but is good practice. Just holding (LENGTH) will temporarily
view the state until the knob is released or timed out.

2. Value button state. The active length is displayed on a value button

illuminated WHITE ⬛. The GREEN ⬛ Top row plus [VB16] Indicates
bar lengths and bottom row DARK GREEN ⬛ available bar sub
divisions. [VB9] is infinite which is the default setting.

3. The length reduction will be based on the total step count which must
be higher than the selected length in order to generate a reduced
playback length. The track will loop over the length.

4. To select a random start point for the current cycle, press [CLEAR]
while in length view. This creates glitch sequences. A random start can
also be set when changing length while holding [CLEAR].

Bar 1 Bar 2

Total
Steps

Length
1

1/4

Steps are illustrated , not Pulses

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 Rhythmic Patterns 3
NOTES
3.9 Pattern Quantize
Quantization is a time based parameter linked to the pattern and serves
two purposes:-

• Quantize ensures synchronisation with the transport control and is

based on the time setting selected.

• Quantize determines the current pattern playback time duration

before the next queued pattern will start to play.

Quantize operates and is stored at pattern level and is part of the setup
section of the T-1 parameters.

Quantize View Mode.

WHITE ⬛ GREEN ⬛
Selected quantize Bars

Quantize View
1 2 3 4 5 6 7 8 Hold [CTRL] + (QUANTIZE).

1/2 1/4 1/8 16

DARK GREEN ⬛
Sub Divisions

▌ SELECTING A QUANTIZE SETTING

1. Hold [CTRL] + Press (QUANTIZE) will temporarily view the state until
the knob is released.

2. Value button state. The active quantize is displayed on a value button

illuminated WHITE ⬛. Top row and 16th button, GREEN ⬛ Indicates
quantize in bar lengths. Bottom row DARK GREEN ⬛ indicates
available sub divisions.

3. Selecting a quantize option. Hold [CTRL] + Turn (QUANTIZE) to quickly

view and change. When quantize is displayed, Press [VBx] Where ‘x’ is
value button 1-8, 16, 10-12.

Quantize Options Group Value Button Option Colour

1, 2, 3, 4, 5, 6, 7, 8, 16 Bars 1, 2, 3, 4, 5, 6, 7, 8,16 GREEN ⬛

1/2, 1/4, 1/8 Sub Divisions 11, 12, 13 DARK GREEN ⬛

Quantize and Length are controlled by the same physical knob. Quantize is the secondary
function accessible using [CTRL].

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3 Rhythmic Patterns
NOTES
3.10 Muting Tracks
Tracks contain musical data, CC values and/or FX settings . These can be
muted and unmuted when developing compositions and when playing live
improvisations. Muting can form a key part of a performances and in
retaining musical interest.

▌ MUTING / UNMUTING TRACKS

1. Select track view. Press [BANK].

2. To view muted tracks, Hold [MUTE].

3. Mute a track. Press [MUTE] + [VBx], Where ‘x’ is an unmuted value

button. Multiple tracks can be muted simultaneously.

4. Release [MUTE]. Muting and unmuting occurs only when the mute
button is released. Muted tracks are lit BLUE GREY ⬛.

5. Unmute a track. Press [MUTE] + [VBx], Where ‘x’ is a muted value

button. Multiple tracks can be unmuted simultaneously.

Mute View Mode.

BLUE GREY ⬛
Muted

Mute View
Hold [MUTE]. Double tap [MUTE] to lock
the mute view on the value buttons.

▌ INSTANT MUTING / UNMUTING TRACKS

1. Select track view. Press [BANK].

2. To view muted tracks, Hold [MUTE].

3. Mute a track. Press [CTRL] + [MUTE] + [VBx], Where ‘x’ is an unmuted

value button. Multiple tracks can be muted simultaneously.

4. Muting / Unmuting occurs instantly in this mode. Muted tracks are lit
BLUE GREY ⬛.

5. Unmute a track. Press [CTRL] + [MUTE] + [VBx], Where ‘x’ is a muted

value button. Multiple tracks can be unmuted simultaneously.

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 Rhythmic Patterns 3
NOTES
3.11 Retriggers
As well as note and CC steps, retriggers can be added into a pattern. A
retrigger is a step that will reset / restart functions within the sequence
when the associated step is activated. This is useful to synchronise
sequence cycles and especially voicing and range which are freely
assigned. The random, phrase, groove and style functions are all reset and
restarted when a retrigger step is activated.

BLUE GREY ⬛ DIMMED BLUE ⬛

Pulses Active Steps

Step View
Hold (STEPS). Double tap (STEPS) to
retain the value button display.

PINK ⬛
Retrigger.
View when [CLEAR] is held

▌ CREATING A RETRIGGER STEP

1. Double press (STEPS) to lock the steps view on the value buttons.

2. Hold [CLEAR] + Press [VBx], where ‘x’ is the value button of step to add
a retrigger. The button will illuminate PINK ⬛.

3. To view, Hold [CLEAR]. The retrigger button will illuminate PINK ⬛.

4. To remove a retrigger, Hold [CLEAR] + Press [VBx], where ‘x’ is the

value button of an existing retrigger, illuminated PINK ⬛.

5. When retrigger step is activated during playback, defined sequence

functions are reset and restarted. Functions that are reset and restarted
on a retrigger are:-

• Random

• Groove

• Phrase

• Style

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3 Rhythmic Patterns
NOTES
3.12 Clearing Patterns and Tracks
Tracks, Patterns and Parameters can be cleared and reset to a default
state. Tracks and patterns will revert to an original empty state and
parameters set to defaults. There is no ‘undo’ when clearing patterns,
tracks and parameters and it should be remembered that this is a
destructive action.

▌ CLEARING A TRACK

1. Ensure track mode is in view. Press [BANK] to return ‘home’.

2. Hold [CLEAR] + [VBx], where ‘x’ is the track to clear represented by

value buttons 1-16.

3. The track value button will flash red and its settings are cleared.

▌ CLEARING A PATTERN

1. Hold [CLEAR] + [PATTERN] + [VBx], where ‘x’ is the pattern to clear

represented by value buttons 1-16.

2. The value button for the pattern will flash red and the pattern and its
sequence data is cleared.

▌ CLEARING AN INDIVIDUAL PARAMETER SETTING

1. Hold [CLEAR] + Press (Knob), where ‘Knob’ is the parameter control to

clear represented by the rotary knobs.

2. The track value button will flash red and the parameter is reset.

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 Rhythmic Patterns 3
NOTES
3.13 Copying Patterns and Tracks
Tracks, Patterns and Parameters can be copied and pasted to another
location, essentially duplicating the settings. Copy is a secondary function
accessed with [CTRL] + [COPY]. There is no ‘undo’ when pasting patterns,
tracks and parameters and it should be remembered that this is a
destructive action overwriting any existing settings. Parameter data is held
within tracks and is therefore copied between tracks.

▌ DUPLICATING A TRACK

1. Ensure track mode is in view. Press [BANK] to return ‘home’.

2. Hold [CTRL] + [COPY] + [VBx], where ‘x’ is the track to copy,

represented by value buttons 1-16. Keep [CTRL] + [COPY] held.

3. The source value button will slowly flash GREEN ⬛.

4. While Still holding [CTRL] + [COPY], press [VBx], where ‘x’ is the
destination track to paste into, represented by value buttons 1-16.

5. The destination value button will quickly flash GREEN ⬛. The

destination will be overwritten with the copied track.

▌ DUPLICATING A PATTERN

1. Hold [CTRL] + [COPY] + [PATTERN] + [VBx], where ‘x’ is the pattern to

copy, represented by value buttons 1-16. Keep [CTRL] + [COPY] +
[PATTERN] held.

2. The source value button will slowly flash GREEN ⬛.

3. While Still holding [CTRL] + [COPY] + [PATTERN], press [VBx], where

‘x’ is the destination pattern to paste into.

4. The destination value button will quickly flash GREEN ⬛. The

destination will be overwritten with the copied pattern.

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3 Rhythmic Patterns
NOTES

▌ DUPLICATING A PARAMETER BETWEEN TRACKS

1. Hold [CTRL] + [COPY] + [PATTERN] + (Knob), where ‘Knob’ is the

current track parameter control to copy represented by the rotary knobs.

2. The source track value button will slowly flash GREEN ⬛.

3. While Still holding [CTRL] + [COPY] + [PATTERN], press [VBx], where

‘x’ is the destination track to paste the copied parameter into.

4. The destination track value button will quickly flash GREEN ⬛. The
destination parameter will be overwritten with the copied parameter.

It is a good habit to copy the working bank to another bank as different

iterations of your project develop. This way its easy to revert to an earlier
version of the project if things get lost in the process.

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 Rhythmic Patterns 3
NOTES
3.14 Saving Patterns and Tracks with Banks
T-1 has an auto-save function and will restore the previous bank on start
up. Patterns and Tracks, including the Parameters can also be manually
saved with the bank. There is no manual save for individual patterns or
tracks, but this is done within the process for saving the bank.

It is a good habit to regularly save the working bank as patterns are being
developed.

▌ SAVING A BANK

1. Edited, unsaved banks will illuminate PINK ⬛ when holding [BANK] and
in addition, will also flash if a pattern is playing.

2. To save a bank. Hold [CTRL] + [SAVE] + [VBx], ‘x’ is the value button of
the bank to save.

3. The bank button and it’s associated value button will flash PINK ⬛
indicating the bank is saved and then will turn white.

4. Release the buttons once save is complete.

▌ RELOADING FROM A SAVED BANK

1. Hold for 1 second, [BANK] + [VBx], where ‘x’ is the edited bank to
reload and is represented by value buttons 1-16.

2. The value button will flash green.

3. The previously saved bank in the slot is reloaded.

4. All banks are reloaded if the T-1 is powered up while holding [BANK].

The T-1 Notebook : Reference & Guide 77

 NOTES

78 The T-1 Notebook : Reference & Guide

 4
Rhythmic Variation
The T-1 can be used to create some interesting expansive range of variation options can be
and creative elements and the foundation has added to create interest and movement. The
been laid with rhythmic patterns. T-1 is building of full songs is an iterative process and
designed to encourage and drive new ways of revisiting the creation of the fundamental pattern
working with song production and live and its associated variations will continue
performances. This alone is a great start to the through the process. Even without melodic
process but rhythms can be developed even elements, intricate and complex patterns can be
further by introducing more variations and created both manually and generatively. The
additional musical elements into the pattern pattern will evolve further when adding melodic
creation process. Parameters such as note components and variations and demonstrate the
length and velocity can be adjusted and edited true organic power of T-1. For now however it’s
and used to bring more variety into the good to stay focussed on understanding the
sequence. The rhythmic patterns may be a little rhythmic foundations and the building blocks to
rigid but accents and small timing adjustments creating variations. These rhythmic processes
can add a more human feel. The note repeat build in-depth knowledge in these areas before
features have a series of extremely moving on further to more advanced topics.
comprehensive options to help create complex
and intricate patterns. Bring probability into the
equation and the organic side of T-1 starts to
open up wider. Even at a rhythmic level the
foundation of a pattern can be created and a

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4 Rhythmic Variation
4.1 Groove Section Overview NOTES

The groove section manages the timing and velocity characteristics of a

sequence including the length of individual notes. Groove functions aim to
impart a human-like feel to patterns rather than the precise nature of
digitally sequenced notes. Slight variations in timing of notes and audio
level gives a more natural groove.

1 3

2 4

Parameter Turn Push Ctrl + Turn

velocity Base, common velocity View / change velocity Probability or chance of

1
probability of all notes when created from the value buttons. notes not being played.

accent Sets velocity variation View / change velocity Applies one of 8 velocity
2
groove accent for the pattern. accent on value buttons. groove templates.

Adjusts note length with View / change note

3 sustain
respect to division length from value buttons

Micro timing stretches

timing View / change micro
4 grid, creating swing with +/- Delay applied to track
delay timing from value buttons
each 2nd subdivision.

Velocity is a musical feature generated naturally by how hard a note is

played, typically resulting in a louder or quieter sound. Velocity
characteristics are applied using ‘Velocity’ to set a base level, ‘Accent’ to
generate variation and ‘Groove’ which applies a velocity and timing
template across the pattern.

Timing factors in the natural musical world are based on the accuracy of
playing notes in time with the musical beat grid. While programmed notes
can be set very precisely, human performances normally have small timing
errors. These errors aren't mistakes, but they help build character and
personal style into a musical passage. The ‘Timing’ and ‘Delay’ parameters
can emulate this natural feel while ‘Groove’ also affects timing.

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 Rhythmic Variation 4
NOTES 4.2 Note Length
The length of individual notes is also controlled within the groove section.
Note length is adjusted using the ‘Sustain’ Parameter and is set relative to
the ‘Division’ setting. Note length is applied to both the pulse notes and also
to any generated repeats.

Concept
First Step

Pulse
Sustain
Note Length 50%

Steps
Division
1/16

Sustain < 50% Sustain > 50%

Note Length Shorter than Division Note Length Longer than Division

Example of a 1/16th Division and Sustain %

8 Steps Bar - 16 Steps

0%

50% 1x Div

100% 16x Div

The Sustain parameter is adjusted either by turning the (SUSTAIN) Knob or

by pressing the (SUSTAIN) knob and pressing the value buttons. The
percentage stated is therefore a reference of how long the note is with
respect to the selected division. The actual percentage value is not shown
other than with the illumination of the value buttons.

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4 Rhythmic Variation
NOTES

The sustain value for note length visualisation is shown by the number of lit
value buttons and their brightness level. Turning (SUSTAIN) adjusts at a
granular level while the value buttons can make specific percentage
change. Hold or double tap (SUSTAIN) to see the value button status for
note length. Percentages shown are guides only.

Sustain View Mode.

BLUE GREY ⬛
Note Length %

12 18 25 31 38 44 50 Sustain View
Hold (SUSTAIN). Double tap (SUSTAIN)
56 62 68 75 81 87 93
to retain the value button display.
100

OFF
Brightness will reflect granular % level adjusted
by holding and turning the (SUSTAIN) knob.

Examples: Sustain Note Length with respect to Division

16 Step Pattern

3 Pulses (Division 1/16th)

1 5 9 13

Sustain (19% is approx 1/4 Division)

16 Step Pattern

3 Pulses (Division 1/16th)

1 5 9 13

Sustain (50% is 1x Division)

16 Step Pattern

1 Pulse (Division 1/16th)

1 5 9 13

Sustain (100% is 16 x Division)

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 Rhythmic Variation 4
NOTES

▌ ADJUSTING THE NOTE LENGTH USING SUSTAIN

1. Select the pattern and track.

2. To view the current note length Hold (SUSTAIN). Also double Press
(SUSTAIN) to lock the view. The value buttons will be lit to indicate the
current note length. Default is 50%, which is one division, indicated by
the top row of 8 buttons.

3. The length will be applied to all notes and repeats. Any new notes
triggered before the prior note ends will cut off the previous note. The %
is applied with respect to the division setting.

4. To change the length value either:-

• Turn (SUSTAIN). This will adjust the value. Although state is

visualised, It is useful to adjust length by ear.

• Hold and Turn (SUSTAIN). This will make granular changes with the
value displayed on the value button brightness.

• While the value buttons are showing the sustain state, press one of
the [VB1] - [VB16] buttons. This is the best method for specific
changes where [VB16] represents 100% and [VB8] 50%.

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4 Rhythmic Variation
4.3 Base Velocity NOTES

Velocity is the parameter that represents how hard a note is played. In the
digital MIDI world this is typically represented as a value between 1-127.
T-1 has a base velocity of 100 which triggers on all notes as the default
value. This can be adjusted using the (VELOCITY) parameter.

Velocity View Mode.

Velocity View
1 15 23 31 39 47 55 63
Hold (VELOCITY). Double tap (VELOCITY)
to retain the value button display.
71 79 87 95 103 111 119 127

BLUE GREY ⬛
Velocity Level

Brightness will reflect velocity level adjusted by turning the (VELOCITY) knob.
For example default 100 is set as 3 knob ‘clicks’ down from [VB13] value button.

127

100
Range 0-127
Default 100

Default 100

Default 100

64

1 5 9 13
3 Pulses (Velocity 100)

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 Rhythmic Variation 4
NOTES

▌ ADJUSTING THE BASE VELOCITY

1. Select the pattern and track.

2. To view the current note length Hold (VELOCITY). Also Double tap
(VELOCITY) to lock the view. The value buttons will be lit to indicate the
current velocity level. Default is 100 indicated by the value buttons.

3. The velocity set will be used for the basis of any and all played notes

4. To change the velocity level, either:

• Turn (VELOCITY). This will adjust the value but is useful when
adjusting velocity by ear. Approx 1 Click on the knob rotation will
generate 1 velocity change.

• Hold and Turn (VELOCITY). This will make 1 unit changes with the
value displayed on the value button brightness.

• While the value buttons are showing the velocity state, press one of
the [VB1] - [VB16] buttons. This is the best method for specific
changes where [VB16] represents 127 and [VB1] represents 1.

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4 Rhythmic Variation
4.4 Velocity Accents NOTES

While velocity sets the base for all notes, accents control how much
variation is applied to the velocities, giving a more natural feel. The amount
of variation is controlled by (ACCENT) and the actual variation shape by
the selected (GROOVE) template. Accents therefore operate in conjunction
with the groove function and relative to the current velocity setting.
Accent View Mode.

WHITE ⬛ PINK ⬛
Accent Hi-Res Groove Tempo x2

Accent View
Hold (ACCENT). Double tap (ACCENT)
to retain the value button display.

ORANGE ⬛
PINK ⬛
- Accent - Coarse + Groove Tempo /2

The top row of buttons / illumination represents fine changes to the accent amount. Bottom
row of buttons represents the coarse Bi-Polar adjustment of the accent amount. The pattern
is inverted between left and right. The pink buttons affect the groove tempo.

5 Pulses / Accents Full Amount

127
Velocity accent profile relative to base velocity

64
127
62

82

50

1 5 9 13

Accent
Amount of groove applied to the velocity profile

Agogo Timbales Congas Bongo

Saw Triangle Sine Pulse CV Input

Groove
Selected groove template is assigned to the velocity profile of the track

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NOTES 4.5 Groove Templates
Groove is a predefined shape template that is applied to the velocity of a
track. The velocity characteristics are applied from either of the 4 preset
groove shapes or from the 4 wave shapes, 8 in total. An additional option
for velocity and timing control is also available from the CV Mod input.
Groove View Mode.

WHITE ⬛
Selected Groove

Agogo Timbales Congas Bongo

Groove View
Hold [CTRL] + (ACCENT).
Saw Triangle Sine Pulse CV

DARK GREEN ⬛ PINK ⬛

Groove Options CV Input Groove

▌ APPLYING A GROOVE AND ACCENT

1. Select the pattern and track.

2. To view the current groove setting, Hold [CTRL] + Press (GROOVE).

Default is Agogo Groove indicated by the WHITE ⬛ [VB1] value button.
Other options are shown lit DARK GREEN ⬛ or PINK ⬛ for CV Input.

3. To select the groove template;

• While displaying the groove page, Press [VB1] - [VB4] to select a

preset groove template or [VB9] - [VB12] for the wave shape
presets. Most visual method.

• Hold [CTRL] + Turn (GROOVE). Changes template on each ‘click’.

• Hold [CTRL] + Press & Turn (GROOVE). This change template on

each rotary ‘click’. Fast method also visualises settings.

4. To change the amount of groove applied to the track;

• While displaying the accent page, Press [VB1] - [VB7] to select a

fine adjustment or [VB9] - [VB15] for a bi-polar course amount.
Value buttons [VB8] & [VB16] affect the groove tempo and
essentially the velocity behaviour

• Turn (ACCENT). This changes the amount iteration on each rotary

‘click’. Fastest method.

• Hold + Turn (ACCENT). Fast method also visualises settings.

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4 Rhythmic Variation
NOTES

A library of 8 preset groove template can be applied to a track velocity.

These are selectable from the (GROOVE) value buttons. The amount of
groove applied is controlled by (ACCENT).

Velocity Profile

127

Velocity level per

pulse in the track
64

Velocity range 1-127.

Accent sets amount

1
1 16

Profile shape is applied to the track. The actual velocity levels per step are
varied and also based on the accent amount.

Preset Groove Profiles

Agogo Timbales
Value Button [VB1] Value Button [VB2]

1 2

Congas Bongo
Value Button [VB3] Value Button [VB4]

3 4

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 Rhythmic Variation 4
NOTES

Wave Shape Groove Profiles

Saw Triangle
Value Button [VB9] Value Button [VB10]

5 6

Sine Pulse
Value Button [VB11] Value Button [VB12]

7 8

CV Input Groove Profile

CV Input
Value Button [VB16]

Groove profile is generated from the CV

MOD input. The profile can control velocity
and timing. The Illustration provided shows
an example profile only.

Groove and Accent are controlled by the same physical knob. Groove is the secondary
function accessible using [CTRL].

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4 Rhythmic Variation
4.6 Note Timing Overview NOTES

The rhythmic timing of notes in a track can be adjusted. This will introduce
a swing-like element and humanise the track groove. The two options
available for timing are (TIMING) and (DELAY).

Timing

Timing is a micro-timing function that moves some notes off the grid earlier
or later in the track to generate a less rigid, shuffle feel to the rhythm. Not
all notes are affected and the note selected behaviour can be adjusted. The
timing parameter controls the amount of note shift on the grid.

Delay

Delay is applied to the entire track. Delay can be applied positively or

negatively to affect the track in note value unit divisions.

Timing Example
Track division with 2nd
subdivision note shifts.

Delay Example
Delay applied to the entire track.

Timing and Delay are controlled by the same physical knob. Delay is the secondary function
accessible using [CTRL].

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 Rhythmic Variation 4
NOTES 4.7 Micro-Timing
Timing shifts specific notes early or late by stretching the grid. Other notes
are unaffected. The amount of micro-timing can be adjusted using
(TIMING) while the behaviour of the notes adjusted is set by the PINK ⬛
division buttons [VB8] or [VB16].

Timing View Mode.

WHITE ⬛ PINK ⬛
Timing - Fine x2 Division

Timing View
Hold (TIMING) or Double tap (TIMING) to
On lock the view.
Grid

ORANGE ⬛ PINK ⬛
- Early Timing - Coarse + Late x4 Division

Illustration shows default ‘On-Grid’ timing i.e. no micro-timing adjustment.

Example: Extreme timing settings, on x1 division.

Min Timing
MIN

1 5 9 13

Max Timing

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4 Rhythmic Variation
NOTES

▌ APPLYING MICRO-TIMING TO A TRACK

1. Select the pattern and track.

2. To view the current timing setting, Hold (TIMING). Also double Press
(TIMING) to lock value button timing display.

3. To adjust micro timed notes earlier on the grid;

• While displaying the timing page, Press [VB9] - [VB11] to coarsely

set the defined notes early on the grid and Press [VB1] - [VB7] to
finely adjust. No timing adjustment when [VB4] & [VB12] are
selected. Most visual method.

• Turn (TIMING) counter-clockwise. This changes the micro-timing

iteratively each rotary ‘click’.

• Press & Turn (TIMING) counter-clockwise. This changes the micro-

timing iteratively each rotary ‘click’.

4. To adjust micro timed notes later on the grid;

• While displaying the timing page, Press [VB13] - [VB15] to coarsely

set the defined notes early on the grid and Press [VB1] - [VB7] to
finely adjust. No timing adjustment when [VB4] & [VB12] are
selected. Most visual method.

• Turn (TIMING) clockwise. This changes the micro-timing iteratively

each rotary ‘click’. Slowest method and least visual.

• Press & Turn (TIMING) clockwise. This changes the micro-timing

iteratively each rotary ‘click’. Slowest method but more visual.

5. To change the grid division and hence defined note behaviour;

• While displaying the timing page, Press [VB8] to increase the note
division x2.

• While displaying the timing page, Press [VB16] to increase the note
division x4.

• When both are lit same colour PINK ⬛ the default x1 division is set.

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 Rhythmic Variation 4
NOTES 4.8 Note Delay
Delay can adjust all notes in a track to be triggered earlier or later within the
note grid. The note division value can be selected for shifting notes.
the notes.

Delay View Mode.

- Early WHITE ⬛ + Late

Fine tune from offset

Delay View
Hold [CTRL] + (DELAY).
On
1/4 1/8 1/16 Grid
1/16 1/8 1/4

ORANGE ⬛
- Early Delay Offset + Late

Example: Extreme delay settings.

Delay Earlier -
Early
1/4

1/8

1/16
1 5 9 13

1/16

1/8

1/4

Late
Delay Later +

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4 Rhythmic Variation
NOTES

▌ APPLYING TRACK NOTE DELAY

1. Select the pattern and track.

2. To view the current delay setting, Hold [CTRL] + (DELAY).

3. To adjust all notes earlier on the grid;

• While displaying the delay page;

• Press [VB11] to adjust notes earlier by 1/16th iteration.

• Press [VB10] to adjust notes earlier by 1/8th iteration.

• Press [VB9] to adjust notes earlier by a 1/4th iteration.

• Press [VB1] - [VB3] or [VB5] - [VB7] to adjust fine with respect to

the note value selected.

• Hold [CTRL] + Turn (DELAY) counter-clockwise. This changes the

delay amount iteratively each rotary ‘click’.

• Hold [CTRL] + Press & Turn (DELAY) counter-clockwise. This

changes the delay iteratively each rotary ‘click’. Slowest method but
more visual.

4. To adjust all notes later on the grid;

• While displaying the delay page;

• Press [VB13] to adjust notes later by 1/16th iteration.

• Press [VB14] to adjust notes later by 1/8th iteration.

• Press [VB15] to adjust notes later by a 1/4th iteration.

• Press [VB1] - [VB3] or [VB5] - [VB7] to adjust fine with respect to

the note value selected.

5. With [VB4] & [VB12] selected the notes will be on grid and no delay
applied to any notes.

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 Rhythmic Variation 4
NOTES 4.9 Probability
The final function in the groove section is the Probability parameter. This
sets whether an active note will be played and is audible or whether the
note will be silenced. The chance of the note being silenced is based on
the probability parameter which increases or decreases the chance that a
note is not played. This is a bi-polar setting which operates on any note or
repeat or on pulses plus the respective repeats. This can introduce an
organic and unpredictable variation, creating space in a rhythmic pattern.

Probability View Mode.

WHITE ⬛ PINK ⬛
Fine Probability Modulation Phase

Probability View
Hold [CTRL] + (PROBABILITY).
All
On

ORANGE ⬛ PINK ⬛
Coarse Probability Modulation Phase

Silence Pulses Silence Note

also silences it’s repeats silences notes and / or repeats

Illustration shows default - 0% probability i.e. all notes will play as normal. At maximum on
each side, the probability will be 100% meaning notes will be totally silenced.

Range -100% to 0

The range on the left i.e. bottom row, ORANGE ⬛, value buttons [VB9] -
[VB11] or adjusted by [CTRL] + Turn (PROBABILITY) Counter-clockwise,
represents the chance that a pulse is silent. This is also adjusted as fine
tuning using the top row value buttons. When a pulse is silent its associated
repeats will also be silenced.

Range 0 to +100%

The range on the right i.e. bottom row, ORANGE ⬛, value buttons [VB13] -
[VB15] or adjusted by [CTRL] + Turn (PROBABILITY) Clockwise,
represents the chance that a note is silent. This could be the main trigger
note and / or a repeat note. This is also adjusted as fine tuning using the
top row value buttons.

Modulation Phase

Modulation phase, adjusted by PINK ⬛, [VB8] and [VB16] buttons adjusts

the random modulation phase, i.e. which notes are selected to silence.

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4 Rhythmic Variation
NOTES

Probability Examples

16 Step Pattern unaffected by Probability

5 Pulses + 1 Repeat

1 5 9 13

Probability - Approx +30%

5 Pulses + 1 Repeat
X X X X X X
1 5 9 13

Probability settings to the right - bottom row or clockwise of

probability knob silences notes + repeats or repeats.

Probability - Approx -30%

5 Pulses + 1 Repeat
X X X X
1 5 9 13

Probability settings to the left - bottom row or counter-clockwise of

probability knob will always silences repeats if a pulse is silenced.

Probability - 100% any direction

5 Pulses + 1 Repeat
X X X X X X X X X X
1 5 9 13

+100% -100%
Or

The notes selected for silencing can be changed by the modulation phase value buttons [VB8]
and [VB16]. This changes the modulation phase of random selection of notes. Random
modulation is linked to the Random controls and hence turning this control will also affect the
probability modulation.

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 Rhythmic Variation 4
NOTES

▌ APPLYING NOTE PROBABILITY TO A TRACK

1. Select the pattern and track.

2. To view the current probability setting, Hold [CTRL] + (PROBABILITY).

3. To increase the chance of pulse notes and repeats being silenced;

• Hold [CTRL] + (PROBABILITY) to view the probability page. Press

[VB11] to increase chance of notes being silenced. Press [VB10] or
[VB9] to increase the chance even further. The further left, the
higher the probability. Press [VB1] - [VB7] to fine tune. Fastest
method for editing.

• Hold [CTRL] + Turn (PROBABILITY) Counter-clockwise. This

changes the chance amount iteratively each rotary ‘click’.

• Hold [CTRL] + Press & Turn (PROBABILITY) Counter-clockwise.

This changes the chance iteratively each rotary ‘click’. Slowest
method but more visual.

4. To increase the chance of notes and / or repeats being silenced;

• Hold [CTRL] + (PROBABILITY) to view the probability page. Press

[VB13] to increase chance of notes / repeats being silenced. Press
[VB14] or [VB15] to increase the chance even further. The further
right, the higher the probability. Press [VB1] - [VB7] to fine tune.
Fastest method for editing.

• Hold [CTRL] + Turn (PROBABILITY) Clockwise. This changes the

chance amount iteratively each rotary ‘click’.

• Hold [CTRL] + Press & Turn (PROBABILITY) Clockwise. This

changes the chance iteratively each rotary ‘click’. Slowest method
but more visual.

5. To adjust which notes are selected to silence i.e. random phase

modulation, Hold [CTRL] + (PROBABILITY) + [VB8] or [VB16].

Velocity and Probability are controlled by the same physical knob. Probability is the
secondary function accessible using [CTRL].

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4 Rhythmic Variation
4.10 Note Repeater Basics NOTES

Note repeater is a function that works in conjunction with pulse. A repeat of

the note can be created when each pulse is triggered, echoing the note
afterwards. The two most basic parameters of the note repeater are
‘repeats’ and ‘time’, although other parameters also affect the repeater. The
‘offset’ and ‘pace’ parameters are two additional creative repeat options.

Parameter Turn Push Ctrl + Turn

repeats Sets the number of View / change repeats Adjusts the velocity offset
1
offset repeats triggered a pulse from the value buttons. ramp up or down.

time Sets the note value View / change time Adjusts the repeat
2
pace division for the repeats. division on value buttons. acceleration / deceleration.

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 Rhythmic Variation 4
NOTES

How does the note repeater work?

A triggered pulse note will be repeated based on the number of ‘Repeats’

assigned and at a note value based on ‘Time’, the note division value of the
repeats. The number of repeats available ranges from 0-48 and with
repeats knob fully clockwise the repeat count is set to infinite. Any
modulation applied to a pulse is also echoed to the repeats.

First Step

Pulse

Repeats
Repeats

Pulse

Illustration shows default pulse note division set by ‘Division’ at

1/16th and default repeat note division set by ‘Time’ at 1/32nd.

Defined Repeats (Range between 0 - 48)

16 Step Pattern

2 Pulses (Division 1/16th)

1 5 9 13

8 Repeats (Time 1/32nd)

Infinite Repeats (Repeat knob fully clockwise)

16 Step Pattern

2 Pulses (Division 1/16th)

1 5 9 13

Infinite Repeats (Time 1/32nd)

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4 Rhythmic Variation
4.11 Note Repeats NOTES

The number of repeats, set by (REPEATS) ranges from 0 - 48 and finally to

an infinite number. Repeats generally follow the same characteristics as the
triggered pulse note. Illustration below indicates number of repeat and not
the total number of pulses

Repeats View Mode.

WHITE ⬛ PINK ⬛
Selected Repeats - Default 0 Choke Mode

0 1 2 3 4 5 6
Repeats View
Hold (REPEATS) or Double tap (REPEATS)
to lock the value button view.
0-6 7-13 14-20 21-27 28-34 35-41 42-48

ORANGE ⬛ PINK ⬛
Selection Range Tail Mode

BRIGHT BLUE ⬛
Infinite Repeats

The last / highest button selection or when the repeats knob is fully clockwise will set the
pulse repeats to infinite. This is displayed as blue on the value buttons.

▌ CREATING REPEATS

1. Select the pattern and track.

2. To view the current repeat setting, Hold or double tap (REPEATS).

3. To change the number of repeats;

• While viewing repeats page, Press [VB9] - [VB15] to select the

range of repeats to select from i.e. [VB9] sets the top row of buttons
as 0-7 repeats, [VB15] selects the top row of buttons as 43-48-
infinite repeats. The precise number selected with [VB1] - [VB7].

• Turn (REPEATS) to select the number of repeats iteratively on each

rotary ‘click’.

• Hold & Turn (REPEATS) to select the number of repeats iteratively

on each rotary ‘click’. Slowest method and also visualises values.

4. To select between repeat behaviour, Press [VB8] to select Choke mode

or Press [VB16] to select Tail mode. The brighter PINK ⬛ button will
indicate the active mode. Choke is default mode.

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 Rhythmic Variation 4
NOTES 4.12 Note Repeat Time
The note repeater time division is set by (TIME). This works in conjunction
with the repeats parameter. The length of notes set by (SUSTAIN) is also
applied to the repeated notes.

Time View Mode.

BLUE GREY ⬛ WHITE ⬛

Quadruplets Selected division

Time View
1/1 1/2 1/4 1/8 1/16 1/32 1/64
Hold (TIME). Double tap (TIME) to retain
the value button display.
1/3 1/6 1/12 1/24 1/48

OFF BLUE ⬛
Inactive Option Triplets

▌ SELECTING A TIME SETTING

1. Optionally lock the time view. Double tap (TIME). This is not essential
but is good practice. Just holding (TIME) will temporarily view the state
until the knob is released.

2. Value button state. The active time is displayed on a value button

illuminated WHITE ⬛. Top row BLUE GREY ⬛ Indicates available
quadruplet divisions and bottom row BLUE ⬛ available triplets.

3. Selecting a time option. Turn (TIME) to quickly view and change. When
in locked division view, Press [VBx] Where ‘x’ is value button 1-7 or 11-
15 to select row and division.

4. A free running time option can also be set using [VB16] then turning
(TIME). The value button will flash WHITE ⬛.to indicate free a time
setting is applied.

Division Options Group Value Button Option Colour

1/1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64 Quadruplets 1, 2, 3, 4, 5, 6, 7 BLUE GREY ⬛

1/3, 1/6, 1/12, 1/24, 1/48 Triplets 11, 12, 13, 14, 15 BLUE ⬛

New pulses triggered will cut off any currently playing repeats or notes. The
repeats behaviour is managed by the choke or tail setting. Division is a macro
that also affects time and rate

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4 Rhythmic Variation
4.13 Choke and Tail Behaviour NOTES

The behaviour of the repeats when a new trigger occurs is governed by the
Choke or Tail options. This is set within the repeats parameter view which
can be displayed by holding or double pressing (REPEATS). Choke curtails
the repeats when a new pulse is triggered while Tail allows new repeats to
be overlaid on the existing repeats.

Option Command Description

Each new pulse chokes the previously created repeats

Choke Mode [VB8] - Default from the prior pulse. Voicing style is applied to both
pulses and repeats equally.

Repeats triggered from a previous pulse are overlaid with

Tail Mode [VB16] repeats from the new pulse. Voicing style is applied to
pulses and voicing is reset on each new pulse.

Choke Mode Behaviour - Default [VB8] On

16 Step Pattern

3 Pulses (Division 1/16th)

1 5 9 13
x x x x x

8 Repeats (Time 1/32nd)

Pulses are curtailed when a new pulse is triggered. The new triggered pulse repeats
will continue as normal unless choked by another new pulse.

Tail Mode Behaviour - Option [VB16] On

16 Step Pattern

3 Pulses (Division 1/16th)

1 5 9 13

8 Repeats (Time 1/32nd)

Existing pulses are overlaid when a new pulse is triggered. The new triggered pulse
repeats will continue as normal along with the previous repeats.

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 Rhythmic Variation 4
NOTES 4.14 Note Repeat Offset Velocity
The offset and pace parameters add even more creative options in the use
of the repeater. Offset operates on the velocity level of the repeats by
generating a rising ramp up or falling ramp down of the first set of repeats.

Offset View Mode.

WHITE ⬛
Selected Offset

Offset View
Hold [CTRL] + (OFFSET).
Off

ORANGE ⬛
Coarse Probability

Ramp Up Ramp Down

The velocity curves are linear but the slope and direction will be based on
the setting applied. Default position for offset will apply no velocity ramp to
the note repeats.

The ramp will start from the current base velocity and ramp to
the maximum 127 level based on the slope selected.

Offset Max Offset Min Offset Off

Steep Slope Up Shallow Slope Up Base Velocity

The ramp will start from the base velocity and ramp to the
minimum 0 level based on the slope selected.

Offset Max Offset Min Offset Off

Steep Slope Down Shallow Slope Down Base Velocity

Offset is the secondary function available on the (REPEATS) Knob, accessible using [CTRL].

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4 Rhythmic Variation
NOTES

The parameter selects the amount of slope applied as the incline for each
of the up or down velocity ramps. The starting point is the base velocity
whether the ramp drives up or down.

Example: Ramp Up - Repeat Velocity Offset

1 Pulse - 12 Repeats (1/16th Division & 1/16th Time)

127

Velocity profile

64
29

109

127

127

127

127

127

127

127

127
49

69

89

1 5 9 13

In this example a base velocity of 29 is set and a ramp up with a steep

incline. Any repeats that continue after the ramp cycle completes will
maintain the maximum or minimum level until the next pulse is triggered.

▌ CREATING VELOCITY OFFSET RAMPS

1. Select the pattern and track.

2. To view the current offset setting, Hold [CTRL] + Press (OFFSET).

3. To change the offset;

• While viewing offset page, Press [VB9] - [VB11] to adjust ramp

down of repeats. Press [VB12] - [VB15] to adjust ramp up of
repeats. The precise number selected with [VB1] - [VB7].

• Press [CTRL] + Turn (OFFSET) to iteratively change the offset on

each rotary ‘click’. Clockwise for ramp up and counter-clockwise to
ramp down.

• Press [CTRL] + Hold & Turn (OFFSET) to select the offset iteratively
on each rotary ‘click’. Clockwise for ramp up and counter-clockwise
to ramp down. Slowest method but most visual.

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 Rhythmic Variation 4
NOTES 4.15 Note Repeat Pace
While offset operates on velocity, pace focusses on the timing of repeats.
Pace is a bi-polar control and adjusts the timing interval of the acceleration
or deceleration of the repeated notes.

Pace View Mode.

WHITE ⬛
Fine Tune & Select Pace

Pace View
Hold [CTRL] + (PACE).
Off

ORANGE ⬛
Coarse

Acceleration Deceleration

The parameter adjusts the acceleration pace of repeat notes or

deceleration pace of repeat notes based on the bi-polar settings. Default
position for pace will apply no changes where repeats stay linear.

The repeats start quickly, short time divisions and expand to

slower, wider time divisions over the duration.

Deceleration Max No Pace

Speed Up Zero Deceleration

The repeats start slowly, longer time divisions and contract to

faster, shorter time divisions over the duration.

Acceleration Max No Pace

Speed Up Zero Acceleration

Pace is the secondary function available on the (TIME) Knob, accessible using [CTRL].

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4 Rhythmic Variation
NOTES

The parameter selects the speed of acceleration or deceleration applied as

the behaviour for each of the pace directions. The pace operates across
the repeat number.

▌ CHANGING REPEAT ACCELERATION OR DECELERATION PACE

1. Select the pattern and track.

2. To view the current offset setting, Hold [CTRL] + Press (PACE).

3. To change the pace;

• While viewing pace page, Press [VB9] - [VB11] to adjust the

acceleration of repeats. Press [VB12] - [VB15] to adjust the
deceleration of repeats. The precise number can be selected with
[VB1] - [VB7] value buttons.

• Press [CTRL] + Turn (PACE) to iteratively change the pace setting

on each rotary ‘click’. Clockwise for deceleration and counter-
clockwise to acceleration.

• Press [CTRL] + Hold & Turn (PACE) to select the pace setting
iteratively on each rotary ‘click’. Clockwise for deceleration and
counter-clockwise to acceleration. Slowest method but most visual.

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 Rhythmic Variation 4
NOTES 4.16 Note Repeat Stop
Repeats can be set for a track from a single note to a continuous note train.
The option to stop repeats playback is also available if required. The
[CLEAR] Button will illuminate PINK ⬛ within the repeats view while
repeated notes are being played.

▌ STOPPING REPEATS

1. Ensure the pattern and track with the playing repeats is active.

2. Double tap (REPEATS) to lock the repeats view.

3. The [CLEAR] button will illuminate PINK ⬛ while the repeat notes are
being played.

4. Press [CLEAR] to stop the tracks repeats. This curtails the current
repeat chain playback but future repeats will be triggered in the cycle.

The T-1 Notebook : Reference & Guide 107

 NOTES

108 The T-1 Notebook : Reference & Guide

 5
Melodic Structures
The first part of this book concentrates on the transpositions and note variations to compliment
structural elements of using T-1. It is then the basic structures already created. These
followed by building tracks even further with structures help to evolve a pattern beyond its
rhythmic components, patterns and then onto rhythmic foundation and helps to build the
rhythmic variations. Tracks and sequences can melodic parts into the arrangement section. Pitch
be built up from these basic foundations and and note sequences are the start in developing
start to evolve with intricate and complex melodic patterns, adding even more versatility
patterns. The next area of coverage focusses and creative options. The arrangement can be
on melodic elements, adding more to the developed by working towards the creation of a
patterns already created to bring pitch and note complete ‘tune’ and production of a full song.
based functions into the mix. This section starts
with the addition of melodic structural parts with
scales and root and also introduces concept of
the pitch menu where notes can be added and
chords created. The option to select from a
collection of scales and adjust the root note is
possible. User scales can even be created and
used within the T-1 perhaps intentionally
drifting away from traditional musical
structures. Basic transposition is covered with
the harmony function which allows

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5 Melodic Structures
5.1 Arpeggio Sequencing Concept NOTES

Euclidean sequencing is a generative model which creates rhythmic note

pulses. Creating melodic patterns requires the introduction of pitch based
pattern generation. One of the models used to develop melodies in T-1 is
Arpeggiation. T-1’s parameters and setting build further onto these models.

What is an Arpeggio?

An Arpeggio is a musical term and is often described as a broken chord.

This means that a series of notes assembled as a chord, for example chord
C Major is divided into it’s individual notes C - E - G for playback. An
arpeggiator would play these individual notes in a predefined order across
a set octave range. This creates interesting repetitive patterns.

Chord Arpeggio - Example Up/Down within 1 octave

G G G

E E E E

C C C C

Pulses

How are Arpeggios Applied in T-1?

There are many parameters that contribute to building advanced melodic

structures onto a Euclidean or step based pattern in T-1. At the most basic
level, building Arpeggios would start in the TONAL section with the Pitch
parameter. T-1 goes beyond basic Arpeggios and can generate more
advanced melodies. Pitch allows the assignment of notes into a chord. In
the tonal part of the SHAPE section voicing, range and style allow
arpeggios and more advanced melodies to be built.

• Pulses: A pulse is a note event which will trigger in a rhythmic

sequence. The melodic notes would be driven from these pulse
events and associated triggers.

• Pitch: Allows melodic notes to be selected into a chord using a

defined scale. These are the notes which will generate the melody.

• Voicing & Range: Amount of pitch variation applied.

• Style & Phrase: Behaviour of the pitch variation applied.

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 Melodic Structures 5
NOTES 5.2 Tonal Section Overview.
The first consideration when expanding a Euclidean or Step pattern to pitch
based melodies is the Tonal section. This consists of 4 Parameters that set
the foundation for melodic compositions. These are Pitch, Harmony, Scale
and Root.

Parameter Turn Push Ctrl + Turn

Chromatic keyboard Moves existing note
pitch Transpose existing notes
1 view. Shows available pitches one note to create
harmony equally in the scale.
and entered notes. harmonies
scale Select one of the 8 Scale option view. Sets the root note in the
2
root available scales. Shows current scale. selected scale

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5 Melodic Structures
5.3 Pitch and Harmony. NOTES

Pitch

Pitch is the first step in building melodic elements. The Pitch function
assists in the assembly of notes into a group or chord. Notes available to
enter are based on the selected scale. The Pitch parameter knob can then
be used to transpose the notes up or down within the scale.

Pitch View Mode.

The pitch view is a unique function which visualises a chromatic keyboard on the
value buttons. To access, Hold (PITCH) or Double Press (PITCH) to lock the display.

BLUE ⬛ BLUE GREY ⬛ PINK ⬛

Black Keys Unavailable Notes in the Scale Octave Up

C# D# F# G# A#

C D E F G A B

ORANGE ⬛ WHITE ⬛ PINK ⬛

Active Notes White Keys Octave Down

Default is C3 - B3

Octave Down Octave Up

C# D# F# G# A#

C D E F G A B

Add or remove notes to/from the group by pressing [VBx] when in pitch view, The ‘x’
represents the value button for the note selected. Active notes are lit orange. Notes
which are not available in the selected scale cannot be selected.

A maximum of 8 notes can be transmitted from T-1 simultaneously.

Examples shown use the chromatic scale, which contains all 12 notes. A Tone is the
interval between whole notes, for example D to E or F to G. A semi-tone is the interval
between half notes, for example D to D# or E to F.

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NOTES

▌ CREATING A PITCH CHORD / GROUP

1. Chromatic keyboard view. Double Press (PITCH) to lock the keyboard

view on the value buttons.

2. Add notes. Press [VBx], where ‘x’ is a value button representing a note
in the scale. Multiple notes can be added simultaneously. Notes not in
the scale are unavailable for selection.

Example: D Major - Add notes D - F# - A = [VB10] - [VB5] - [VB14]

3. The octave range displayed can be changed up or down using the two
PINK ⬛ modifier buttons [VB8] - Up and [VB16] Down. Notes can be
added in the displayed page.

Example: D Major7 - Add C# to the D Major - Page Up [VB2]

4. Remove notes. Press [VBx], where ‘x’ is a value button representing a

existing note selected in the scale.

Octave Up C4 - B4

C# D# F# G# A# C# D# F# G# A#

C D E F G A B C D E F G A B

F# C#

D A

The modifier buttons shift the value button view up or down an octave each iteration. The
modifier buttons will change colour to reflect the octave range selected.

-5 -4 -3 -2 -1 Default +1 +2 +3 +4 +5
C-2 - B-2 C-1 - B-1 C0 - B0 C1 - B1 C2 - B2 C3 - B3 C4 - B4 C5 - B5 C6 - B6 C7 - B7 C8 - B8

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5 Melodic Structures
NOTES

▌ CREATING AND REMOVING NOTES IN A PITCH CHORD / GROUP

1. Chromatic keyboard view. Double Press (PITCH) to lock the keyboard

view on the value buttons.

2. Add notes. Press [VBx], where ‘x’ is a value button representing a note
in the scale. Notes not in the scale are unavailable for selection.

3. Add notes while deleting existing notes. Hold [CLEAR] + [VBx], where
‘x’ is a value button representing a note in the scale. The new note is
added while all other existing notes will be automatically be removed.

4. Remove notes manually. Press [VBx], where ‘x’ is a value button

representing a existing note selected in the scale.

The pitch knob transposes each note in a chord or note group for the
selected track for each rotation ‘click’ of the Pitch knob. The notes will
transpose to the next available note in the scale. This can be used to create
variations in arrangements or can be used in live performances.

Also Pitch is useful when connecting to drum synths where notes will
trigger specific drum sounds and offers a quick and easy way of aligning
the tracks notes to the drum synth triggered notes.

+1 Octave
Transpose +1 Octave C# D# F# G# A#
[CTRL] + [VB8]
C D E F G A B

C# D# F# G# A#

C D E F G A B -1 Octave

C# D# F# G# A#
Transpose -1 Octave
[CTRL] + [VB16] C D E F G A B

+1 Note Up
Transpose Next Note C# D# F# G# A#
Turn (PITCH) Clockwise
C D E F G A B

C# D# F# G# A#

C D E F G A B -1 Note Down

C# D# F# G# A#
Transpose Prior Note
Turn (PITCH) Counter Clockwise C D E F G A B

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NOTES

▌ TRANSPOSING PITCH NOTES 1 OCTAVE

1. Chromatic keyboard view. Double Press (PITCH) to lock the keyboard

view on the value buttons.

2. Transpose existing notes up an octave. With notes added in an octave

range, Hold [CTRL] + [VB8] to transpose the existing notes up 1 octave.
Repeat to transpose further.

3. Transpose existing notes down an octave. With notes added in an

octave range, Hold [CTRL] + [VB16] to transpose the existing notes
down 1 octave. Repeat to transpose further.

4. When using this transpose method, the keyboard view will switch to the
octave range selected along with the transposed notes.

▌ TRANSPOSING PITCH NOTES

1. It is not essential, but recommended as a good practice to view the

keyboard or play the track while adjusting pitch. Double Press (PITCH)
to lock the keyboard view on the value buttons.

2. Transpose notes. Turn (PITCH) Clockwise to move notes up in the

scale. Each knob ‘click’ will move by one note step in the current scale.

3. Transpose notes. Turn (PITCH) Counter clockwise to move notes down

in the scale. Each knob ‘click’ will move by one note step within the
current scale.

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5 Melodic Structures
NOTES

Harmony

The Harmony algorithm transposes notes to create new interesting chord

inversions with the selected scale. Notes are adjusted by 1 tone at each
iterative rotation ‘click’ of the harmony parameter knob. This is a secondary
function and accessed using [CTRL]. Notes in a chord are individually
transposed at each iteration. Notes are selected based on the harmony
algorithm transposing up and transposing down.

Examples.
Chord, D Major, Chromatic Scale, C Root. Pitch view chromatic keyboard.

Example: To adjust the harmony, Hold [CTRL] + Turn (HARMONY). Turning clockwise
will cyclically move each note individually. Notes are selected by the algorithm within
the current scale.

C# D# F# G# A#
3 2 1
C D E F G A B

A
F#

1 5 9 13
D Major

Example: To adjust the harmony, Hold [CTRL] + Turn (HARMONY). Turning the
knob counter-clockwise will cyclically move each note individually. Notes are
selected by the algorithm within the current scale.

C# D# F# G# A#
1 2 3
C D E F G A B

A
F#

1 5 9 13
D Major

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 Melodic Structures 5
NOTES

▌ CREATING CHORD VARIATIONS WITH THE HARMONY ALGORITHM

1. Chromatic keyboard view. Double Press (PITCH) to lock the keyboard

view on the value buttons.

2. Ensure a chord is created by selecting notes in the scale.

3. Generate a chord variation. Hold [CTRL] + Turn (HARMONY) to

transpose the existing notes.

• Each ‘click’ iteration of the knob will move an individual notes by one
chord tone value in the selected scale.

• Individual notes are adjusted in an ordered manner based on the

harmony algorithm.

• Chords are generated using only notes in the selected scale.

• Try turning clockwise and counter clockwise to generate new

interesting chord variation.

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5 Melodic Structures
5.4 Scale & Root. NOTES

Scale

Melodic functions such as pitch and harmony operate within a defined

scale. T-1 has 8 available scales, including a user defined scale. To select
from the options use the (SCALE) knob. The option to select a root note is
available as a secondary option accessed with the [CTRL] button.

Scale View Mode.

The scale view visualises the available scale options. To access, Hold (SCALE) or
Double Press (SCALE) to lock the display.

Chro Maj Min Pent Hira Iwat Tetra User

C#

WHITE ⬛ BLUE ⬛ PINK ⬛

Selected Scale Available Scales User Scale

VB Scale Default ‘C’ Notes Description

C, C#, D, D#, E, F, Classic western scale using all 12 notes / tones, with
9 Chromatic
F#, G, G#, A, A#, B intervals of a semi-tone.

Common western diatonic scale using 7 notes / tones.

10 Major C, D, E, F, G, A, B
White keys, no sharps or flats.

11 Minor C, D, D#, F, G, G#, A# Common western diatonic scale using 7 notes / tones.

12 Pentatonic C, D#, F, G, A# International scale using 5 notes / tones.

Japanese 5 note scale derived from shamisen 3-

13 Hirajoshi C, D, D#, G, G#,
stringed musical traditions. Classic Japanese sound.

Japanese 5 note scale from koto instrument traditions

14 Iwato C, C#, F, F#, A#,
and . derived from Hirajoshi mode.

Historic, less common 4 note scale. More often found

15 Tetratonic C, E, G, B
in Native American, Maori and Inuit cultures.

User C, C#, D, D#, E, F,

16 Custom designed by the user.
Scale F#, G, G#, A, A#, B

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 Melodic Structures 5
NOTES

▌ SELECTING A SCALE

1. Optionally view the scale menu view. Double Press (SCALE) to lock the
scale view on the value buttons. Actual notes shown in (PITCH) view.

2. Select a scale. Press [VBx], where ‘x’ is a value button 9-16

representing a scale. Example: Major scale, press [VB10].

3. Change a scale. Turn (SCALE) to change the scale. The scale page will
display the current scale. Hold & Turn (SCALE) to view the scale view
on the value buttons while changing.

Scale examples: Shown in Pitch View. Root Note C

Chromatic C# D# F# G# A#

[VB9] C D E F G A B

Major

[VB10] C D E F G A B

Minor D# G# A#

[VB11] C D F G

Pentatonic D# A#

[VB12] C F G

Hirajoshi D# G#

[VB13] C D G

Iwato C# F# A#

[VB14] C F

Tetratonic

[VB15] C E G B

User C# D# F# G# A#

[VB16] C D E F G A B

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5 Melodic Structures
NOTES

▌ CREATING A USER SCALE FOR THE TRACK

1. Ensure that ‘C’ is selected as the root note. This will be the reference
when transposing the root.

2. Select User Scale. Hold (SCALE) + Hold [VB16]. Keep the knob and
button held throughout the process.

3. The user scale note options will be displayed on the value buttons.
Initially all note will be available. Black keys are represented by the
BLUE ⬛. Buttons and White keys by WHITE ⬛ Buttons.

4. Select notes for the scale. Press [VBx], where ‘x’ is a value button
representing a note to remove from the scale.

5. Notes not selected in the scale are shown as BLUE GREY ⬛.

6. When the scale has been created release the (SCALE) + [VB16]
controls. The scale will now be active in the user scale option for the
selected track. Other tracks also have the option for a user scale.

BLUE ⬛
Notes in the Scale

User Scale C# D# G# A#

[VB16] C D E F G B

WHITE ⬛ BLUE GREY ⬛

Notes in the Scale Deselected Notes

Ensure Root note is ‘C’ when building user scales

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 Melodic Structures 5
NOTES

Root

A root note establishes the pitch tonality of a chord or scale and is the
lowest / first note in the group. Chords are typically named after the root, for
example C Major has a C root note, G Major has a G root note. The root
note therefore defines the key of a chord and is the note on which a scale is
built. The root note for a scale can be changed in T-1. This changes only
the scale root and does not transpose any existing chords or notes.

BLUE ⬛
Available Notes

C# D# F# G# A#

C D E F G A B

PINK ⬛ WHITE ⬛
Active Root Note Available Notes

▌ SELECTING A ROOT NOTE

1. View the root note page. Hold [CTRL] + Press (ROOT) to view the value
button chromatic display.

2. Set the root with the root knob. Hold [CTRL] + Turn (ROOT).

3. Set root note with value buttons. While the root page is displayed, Press
[VBx] where ‘x’ is the value button representing a note on the chromatic
keyboard.

4. The currently selected root note is shown by the PINK ⬛ lit value
button.

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 NOTES

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 6
Progressions
The main building blocks of creating tracks and develop progressions. Tonal shaping and the
patterns have been covered. Rhythmic voicing and style elements contribute along with
elements combined with the melodic range and phrase. The generative power of T-1
foundations allow the foundation of a song can be explored with the cadence and LFO
structure to be developed. Progressions are functions introduced into the production. Even
the evolution and changes applied in a CV input, accessed from the CV Mod
complete song to develop interest, engage the connection, can be used as a modulation source
listener and build the musical story. This is to contribute to the variation of groove and
usually formed with a series of sections that phrase patterns. The expansion of a song is
when combined create a full arrangement. possible not only in duration but in musical
Technically speaking, progressions are a series phrasing and interesting, sometimes creating
of chords that operate around a key. In the unpredictable melodic parts. Exploring avenues
context of T-1, progressions allow the of interest and trying things may lead to many
development of patterns with variations that happy accidents and also allow exploration of a
take the listener on the musical journey less familiar production process. The ability to
maintaining interest, maybe surprise and control and steer the direction is of course in the
evolve as the song develops. This section hands of the musician and producer and with the
helps to move on towards a complete song melodic tools to develop more elaborate and
production with variations that can contribute to unique progressions, the application should
these sections of the song arrangement. T-1 is focusses on creativity rather than process.
well equipped with the tools to apply and

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6 Progressions
6.1 Tonal Shaping. NOTES

The basic foundations for melodic structures are set with the scale, root,
and pitch parameters. The Harmony function delivers chord progressions
by changing notes. There are more options for tonal shaping and creating
melodic variations and melodies. The tonal shaping parameters include
Voicing and Range. Style and Phrase also provide control over the melodic
behaviour. These parameters are found in the shape section.

Parameter Turn Push Ctrl + Turn

Voicing changes the
voicing Shows the voicing Selects one of 6 voicing
1 chord note order across
style setting. style templates
octaves.
range Controls the up and Range option view. Selects one of the 8
2
phrase down note behaviour Shows current range. cadence or LFO shapes

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 Progressions 6
NOTES 6.2 Voicing & Style Overview
Voicing adjusts the order of notes across octaves. This starts from the
placement of pitch note settings. The behaviour of how these notes are
transformed is governed by the selected Style option. Essentially, Voicing
controls the amount of note adjustment up and down the octaves, the
behaviour of which is determined by the selected Style shape.

Output

Voicing
Transformation amount - Bi-Polar

(1) Transform

Poly Poly Poly

Fixed Ramp Climb

Mono Mono Mono

Fixed Ramp Climb

Style
3 Styles - Poly or Mono

C# D# F# G# A#

C D E F G A B

Pitch
Pitch Note Menu Settings

Voicing is a bi-polar parameter meaning that the amount can transform

notes up or down the octave range. The note play direction can be changed
in the voicing options.

One of the Styles is always selected. The default is Poly - Fixed,

represented by [VB1] on the value buttons. However, the style is not
immediately applied as the Voicing, i.e. the amount is set by default to 0.
The pitch notes would therefore be passed as is through to the output
unless Voicing is applied.

(1) All T-1 Parameters have close interaction and rely on each other to
generate the final output. Transformation is not generated in isolation from
one single parameter but is a combination of settings from many parameters.

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6 Progressions
6.3 Style. NOTES

Style creates inversions of the pitch chord based on the pitch menu setting.
This is based on 3 template styles each which operates polyphonically or
monophonically. Polyphonic mode will play multiple notes together while
monophonic plays only one note at a time on each pulse trigger.
Monophonic options apply arpeggio style note movement. The style
parameter enables the selection of one of the 6 available options.

Style View Mode.

WHITE ⬛
Selected Style

Poly Poly Poly Style View

Fixed Ramp Climb
Hold [CTRL] + (STYLE).
Mono Mono Mono
Fixed Ramp Climb

DARK GREEN ⬛
Style Options

▌ APPLYING A STYLE

1. Select the pattern and track.

2. Ensure notes / chords are set in the (PITCH) menu.

3. To view the current style setting, Hold [CTRL] + Press (STYLE). Default
is Polyphonic Fixed indicated by the WHITE ⬛ [VB1] value button.
Other options are shown lit DARK GREEN ⬛.

4. To select the style template;

• While displaying the style page, Press [VB1] - [VB3] to select a

preset polyphonic style template or [VB9] - [VB11] for the
monophonic options. Quick and most visual method.

• Hold [CTRL] + Turn (STYLE). This changes the template on each

rotary ‘click’ across the 6 options.

• Hold [CTRL] + Press & Turn (STYLE). This changes the template on
each rotary ‘click’. Fast method also visualises the settings.

5. The amount of variation and the direction of notes is set in the Voicing
parameter options.

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 Progressions 6
NOTES

Style Options

Style is the model which creates inversions of the pitch menu chord. 3 Style
options are available, each of which is available for polyphonic notes or
monophonic note changes. Illustrations are examples only and show 3
pulses of the original chord in ORANGE ⬛ and inversions GREY ⬛.

Fixed Polyphonic Monophonic

Value Button [VB1] Value Button [VB9]

Voicing Down -3 Voicing Up +3 Voicing Down -3 Voicing Up +3

Creates static inversions, moving the chord notes up, voicing clockwise / value
buttons right or down when turning counter-clockwise / value buttons left.

Ramp Polyphonic Monophonic

Value Button [VB2] Value Button [VB10]

Voicing Down -3 Voicing Up +3 Voicing Down -3 Voicing Up +3

Adds notes up/down similar to classic arpeggiators. Notes up, turn voicing clockwise /
value buttons right or down with voicing counter-clockwise / value buttons left.

Climb Polyphonic Monophonic

Value Button [VB3] Value Button [VB11]

Voicing Down -3 Voicing Up +3 Voicing Down -3 Voicing Up +3

Creates inversions by statically moving the full chord notes up, voicing clockwise /
value buttons right or down when turning counter-clockwise / value buttons left.

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6 Progressions
6.4 Voicing. NOTES

Voicing sets the amount of transformation applied by the chosen style. Also
the up or down direction of note playback can be changed in the voicing
options. Notes must be added, typically as a chord in the pitch menu.

Voicing View Mode.

WHITE ⬛ PINK ⬛
Fine Tune & Select Note Direction Up

Voicing View
Hold (VOICING) or Double tap (VOICING)
to lock the view.
Off

ORANGE ⬛ PINK ⬛
Coarse Note Direction Down

Transform Transform
Down Up

▌ ADJUSTING THE VOICING

1. Select the pattern and track.

2. Ensure notes / chords are set in the (PITCH) menu and a desired style
is selected. The default is ‘Poly Fixed’.

3. To view the current style setting, Hold (VOICING). Default is set to off.
The WHITE ⬛ value button indicated the selected amount. The lower
value buttons adjust the amount - coarse resolution. These will be lit
ORANGE ⬛. Buttons [VB4] & [VB12] by default set to the ‘off’ state.

4. To select the amount of transformation;

• While displaying the style page, Press [VB9] - [VB11] to adjust the
transformation amount down in larger steps. Press [VB13] - [VB15]
to adjust the transformation amount up in larger steps. Press [VB1] -
[VB8] to fine tune the amount. Quick and most visual method.

• Turn (VOICING). This changes the amount on each rotary ‘click’ of

the knob.

• Press & Turn (VOICING). This changes the amount on each rotary
‘click’ of the knob. Fast method also visualises the settings.

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 Progressions 6
NOTES

Play Direction

The style will determine the behaviour of the notes, however the direction is
set in voicing. Notes can play, similar to an arpeggio, up or down in a
sequence. Each note is played in turn on each pulse trigger.

UP - Direction of Playback DOWN - Direction of Playback

Up

Down

▌ CHANGING THE PLAYBACK DIRECTION

1. Select the pattern and track.

2. To view the current style setting, Hold (VOICING). The value buttons
[VB8] and [VB16] represent the Up/Down selection,

3. Press the top button [VB8] to select UP. Both buttons are lit but the
active mode button will be brightly lit PINK ⬛. The other button is lit but
slightly dimmed.

4. Press the bottom button [VB16] to select DOWN. Both buttons are lit
but the active mode button will be brightly lit PINK ⬛. The other button
is lit but slightly dimmed.

5. The notes and arpeggio’s will play in the direction selected. This is
useful also for live sessions and ad-libs..

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6 Progressions
6.5 Range & Phrase Overview. NOTES

Range and Phrase are another parameter pair that work closely together to
create melodic phrases with the source of notes coming from the pattern
and the track pitch note menu placements. A Phrase is a predefined shape
for generating melodic passages. Range expands the amount of pitch
variation within the current scale for the selected Range and also controls
the phrase rate. Essentially, a Phrase will act as a melody generator and
the note range is controlled by the Range parameter.

Output

Range
Rate Pitch Range

=
/2 x2
(1) Transform

Cadence Cadence Cadence Cadence

1 2 3 4

Saw Triangle Sine Pulse

Phrase
8 Phrase Templates

C# D# F# G# A#

C D E F G A B

Pitch
Pitch Note Menu Settings

The behaviour of how these notes are played out is governed by which of
the 8 Phrase options is active and how much range and rate is applied. In
reality there is a 9th Phrase option which uses and external CV input - CV
Mod to generate the melodic phrase. This is covered elsewhere.

(1) All T-1 Parameters have a symbiotic relationship, meaning what is set on
one can affect another and vice versa. For example the melodic output when
setting a phrase and range will also be affected by the style and voicing. Bear
in mind that changing one of multiple parameters will ultimately affect the
output pattern.

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 Progressions 6
NOTES 6.6 Phrase
Think of the Phrase function as a melodic engine, a tool that generates
phrases ideal for chord progressions and tonal patterns based on the pitch
menu notes, scale and the range and rate controlled by Range. Phrase
actually utilises one of the 8 selectable shape templates. This then
determines the melodic passage.

Phrase View Mode.

WHITE ⬛ DARK GREEN ⬛

Selected Phrase Phrase Cadences

Phrase View
Cad 1 Cad 2 Cad 3 Cad 4
Hold [CTRL] + (PHRASE).
Saw Tri Sine Pulse CV

DARK GREEN ⬛ PINK ⬛

Phrase LFO’s CV Input

▌ APPLYING A PHRASE

1. Select the pattern and track.

2. Ensure notes / chords are set in the (PITCH) menu.

3. To view the current phrase setting, Hold [CTRL] + Press (PHRASE).

Default is Cadence 1 indicated by the WHITE ⬛ [VB1] value button.
Other options are shown lit DARK GREEN ⬛.

4. To select the phrase template;

• While displaying the phrase page, Press [VB1] - [VB4] to select a

preset cadence template or [VB9] - [VB12] for the LFO shape
options. Quick and most visual method.

• Hold [CTRL] + Turn (PHRASE). This changes the template on each

rotary ‘click’ across the 8 options.

• Hold [CTRL] + Press & Turn (PHRASE). This changes the template
on each rotary ‘click’. Fast method also visualises the settings.

5. The amount of note range and the modulation rate is set in the Range
parameter options.

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6 Progressions
NOTES

Cadence Overview

The first 4 Phrase options are available on the top row of the DARK
GREEN ⬛ value buttons represent cadences. A cadence is a rhythmic or
pitch based sequence of notes or chords formed into a passage of music.

Cadence
Value Button [VB1] - [VB4]
The cadence direction and range is set by the
3
Range parameter. This is a bi-polar setting and
can control the direction of the cadence even
2 though the general shape is maintained. The
1 shape is determined by the Phrase option. The
notes as selected in the (PITCH) menu will play
as chords or arpeggio style notes based on the
(STYLE) setting. The examples here assume
chords set polyphonically for the style.

Chord progression example

C 3 Phrase Shape
Range

2
1

C Major

Style Poly Fixed

In this example, Cadence 1 controls the chord changes 1,2 & 3 in line with the
cadence shape. This is illustrated at the normal x1 rate across the 4 bars.

The amount that the chords are transformed and offset from the original position is
based on the Range. In this and following examples the range is set to one orange
step right - range up.

Range

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NOTES

Cadence 1 Cadence
Value Button [VB1]

Bi-polar, Inversion

Cadence 2 Cadence
Value Button [VB2]

Bi-polar, Inversion

Cadence 3 Cadence
Value Button [VB3]

Bi-polar, Inversion

Cadence 4 Cadence
Value Button [VB4]

Bi-polar, Inversion

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NOTES

LFO Overview

The second set of 4 phrase options are available on the bottom row of the
DARK GREEN ⬛ value buttons. These represent LFO’s. An LFO is a Low
Frequency Oscillator which cycles modulation of notes repetitively.

LFO
Value Button [VB9] - [VB12]
The cadence direction and range is set by the
1 2 3 4 Range parameter. This is a bi-polar setting and
can control the direction of the cadence even
though the general shape is maintained. The
shape is determined by the Phrase option. The
notes as selected in the (PITCH) menu will play
as chords or arpeggio style notes based on the
(STYLE) setting. The examples here assume
chords set polyphonically for the style.

Chord progression example

C C Major Range

1 2 3 4

Phrase Shape
Style Poly Fixed

In this example, Cadence 1 controls the chord changes 1,2 & 3 in line with the
cadence shape. This is illustrated at the normal x1 rate across the 4 bars.

The amount that the chords are transformed and offset from the original position is
based on the Range. In this and following examples the range is set to one orange
step right - range up.

Range

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NOTES

Saw LFO
Value Button [VB9]

Bi-polar, Inversion

Triangle LFO
Value Button [VB10]

Bi-polar, Inversion

Sine LFO
Value Button [VB11]

Bi-polar, Inversion

Pulse LFO
Value Button [VB12]

Bi-polar, Inversion

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6.7 Range NOTES

Range controls the amount of note variation when generating a phrase.

This sets how wide the octave range for the spread of notes and chords.
The range is a bi-polar setting. In addition, the phrase rate can be set to
one of 3 values to speed up or slow down the phrase generated.

Range View Mode.

WHITE ⬛ PINK ⬛
Fine Tune & Select Rate x2

Range View
Hold (RANGE). Double tap (RANGE)
to lock the view.

ORANGE ⬛ PINK ⬛
Coarse Values Rate /2

Decrease Increase

C8
C7
C6
Range
C5

C4
C Major

C3

C2
C1
C0 Range
C-1
C-2

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NOTES

Phrase Rate

The speed of the phrase playback can be changed within the (RANGE)
menu using the upper [VB8] button which doubles the speed while the
lower [VB16] button halves the speed. Normal, x1 default playback is reset
with both buttons illuminated PINK ⬛ value buttons.

1 2

Press [VB8] - Increased Rate x2

1 2 3 4

Default Normal Rate x1

Both buttons PINK ⬛

1 2 3 4 5 6 7 8

Press [VB16] - Lower Rate /2

Division operates as a macro that also affects Rate and Time.

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NOTES

▌ APPLYING A RANGE

1. Select the pattern and track. Also ensure a phrase is selected.

2. Ensure notes / chords are set in the (PITCH) menu.

3. To view the current phrase setting, Hold (RANGE). To lock the view
Double tap (RANGE). [VB4] & [VB12] are default.

4. To adjust the note range that follows the selected phrase;

• While displaying the phrase page, Press [VB9] - [VB11] increase the
phrase range down or [VB13] - [VB15] to increase phrase range up.
[VB9] and [VB15] are the widest extremes. Fine tune with [VB1] -
[VB7]. Default state is [VB12] & [VB4] - no note deviations applied.

• Hold [CTRL] + Turn (RANGE). This changes the value incrementally

on each rotary ‘click’.

• Hold [CTRL] + Press & Turn (RANGE). This changes the value
incrementally on each rotary ‘click’. Fast method also visualises the
settings.

▌ CHANGING PHRASE RATE

1. Select the pattern and track. Also ensure a phrase and a range is
selected.

2. Ensure notes / chords are set in the (PITCH) menu.

3. To view the current phrase setting, Hold (RANGE). To lock the view
Double tap (RANGE). [VB4] & [VB12] are default.

4. To change the rate for phrase;

• The default state should be a normal x1 rate, playing over 4 bars.

The value buttons lit PINK ⬛.

• To increase the rate to x2, complete pattern spanning over 2 bars,

Press [VB8]. The value buttons will illuminate brighter pink / purple.

• To decrease the rate to /2, complete pattern spanning over 8 bars,

Press [VB16]. The value buttons will illuminate brighter pink / purple.

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NOTES 6.8 Performance Buttons
T-1 is designed to encourage and support organic and new ways of
production. This is especially relevant with live performances and
improvisations. The Mute and Temp performance buttons help create on-
the-fly live variations and progressions across tracks.

2 1

Double tap [TEMP] or [MUTE] to lock and keep

the function selection active.

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NOTES

1. Mute Button

The mute button can ‘silence’ one or more tracks in the pattern. Muting and
unmuting tracks creates variations and helps create a live progression. CC
and FX tracks are illuminated CYAN ⬛ and MAGENTA ⬛ unless muted.

▌ PERFORMANCE MUTING OF TRACKS

1. Select the home track view by pressing [BANK].

2. Hold [MUTE] + Press [VBx], where ‘x’ is one the value buttons
representing a track to mute / unmute. Multiple tracks can be selected.
It is possible to lock the mute selection by double pressing [MUTE].

3. The [MUTE] button will flash.

4. Release [MUTE] to make the mute or unmute action active for the
selected tracks.

5. Muted tracks are lit BLUE GREY ⬛.

▌ INSTANT MUTING OF TRACKS

1. Select the home track view by pressing [BANK].

2. Hold [CTRL] + [MUTE] + Press [VBx], where ‘x’ is one the value buttons
representing a track to mute / unmute. Multiple tracks can be selected.

3. The mute or unmute action is immediately active for the selected tracks.

4. Muted tracks are lit BLUE GREY ⬛.

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NOTES

2. Temp Button

The temp button allows temporary parameter changes for note and CC
tracks. Releasing the button restores any parameter changes made to the
original state. Temp can also control temporary mutes, reset to original
state when temp is released. Temp would need to be continuously held or
locked to change and save parameters.

▌ TEMPORARY CHANGING TRACK PARAMETERS

1. Select the home track view by pressing [BANK].

2. Select one or more tracks. Press [VBx] where ‘x’ is the track.

3. Hold [TEMP] + Turn (Knob), for the parameters to adjust. The

parameter will change. It is possible to lock the temp selection by
double pressing [TEMP].

4. Hold [TEMP] + [PATTERN] + Turn (Knob) to change relative parameter

elements across all tracks in the pattern.

5. The [TEMP] button will flash.

6. Release [TEMP] to restore the parameter values to the original state.

SAVING TEMPORARY PARAMETER CHANGES TO A PATTERN

1. Select the home track view by pressing [BANK].

2. Hold [TEMP] + [PATTERN] + [VBx] to save the temporary changes to

pattern ‘x’.

• If ‘x’ is the current pattern will override the saved changes.

• If ‘x’ is a new pattern, the state is saved and new pattern will play.

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 NOTES

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 7
Cycles & Random
Cycles and random are two functions that of parameter values for the track. Random is a
operate globally, with multiple T-1 elements. feature that modulates and changes the
Cycles is the name given to a feature that behaviour of various parameters over a 16 step
groups combinations of parameter settings that modulation sequence. Random is applied to the
are applied on each loop of the track sequence. primary parameters in T-1, each operates it’s
This allows each Euclidean cycle to have a own sequence. Primary parameters are
unique set of parameter values applied when immediately available functions labelled white on
each cycle of the sequence is active. All the top panel. The global randomisation and
parameters can be automated within a cycle application per parameter is complex and
and can easily be cleared. Edit mode is consists of many moving parts. Random is
required to assign a parameter change within a designed with creativity and unpredictability in
specific cycle. Generic changes to parameters mind, while respecting the musical context. Try
across all cycles is possible outside of edit not to worry too much about absolute values and
mode. There are 16 cycles available with 4 settings but instead tweak and experiment to
assigned to each track by default. The starting produce in a more organic way. Trust in Random
point of a project will find all 4 cycles to be generated outcomes and expect the unexpected.
identical. Think of a cycle as a parameter Cycles and Random are useful features that can
automation lane, running in parallel and contribute to the variation of a passage or the
overlaid to the primary pulse pattern. A cycle arrangement of a full song. Either way they can
does not itself affect any parameter settings but be used to add even more interest in live
more so acts as a container for an alternate set performances.

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7 Cycles & Random
7.1 Cycles Overview NOTES

The Cycles control is found in the shape section of T-1. When playing the
sequence the selected number of cycles will play in sequence. The default
is 4 active cycles. Each cycle iteration is aligned to the pattern cycle length.
Each cycle, unless edited, will be identical to each other at the outset.

WHITE ⬛ The track will play each cycle in turn then restart and
Current Cycle loop playback. Parameters can be adjusted as a
deviation from the original settings within each cycle.
This creates alternate versions which play in sequence
building interesting and progressive arrangements.

OFF
Available, Inactive Cycles

Cycle View
Hold or Double Tap (CYCLES) to
lock the cycle view buttons.

BLUE GREY ⬛
Available, Active Cycles

RED ⬛
Edited Cycles

▌ VISUALISING CYCLES

1. Select the pattern and track.

2. To view the cycle page, Hold (CYCLES).

3. To lock the cycles page view, double tap (CYCLES).

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NOTES 7.2 Editing Cycles
Cycles can be selected for editing. Parameter values within the cycle are
the elements that can be edited and are then ‘locked’ into the cycle. Each
time the cycle plays, the defined parameter values will be applied. Cycles
being edited will loop. Any deviations from the original parameters are what
creates unique musical passages and sections.

cycles

Cycles Edit Mode

Signified by the [BANK] button illuminated in RED ⬛
and the selected cycle value button to edit will flash.

▌ EDITING CYCLES IN EDIT MODE

1. Select the pattern and track.

2. To view the cycle page, Hold or double tap (CYCLES).

3. If the sequence is stopped the active cycles will be lit BLUE GREY ⬛.
If the sequence is playing the currently playing cycle is lit WHITE ⬛.

4. In cycle view Press [VBx] for the value button that represents the cycle
to edit. By default the first 4 cycles out of 16 are active. This selects the
cycle edit mode. Multiple cycles can be edited when selected
simultaneously. Turn (CYCLES) to also select a cycle to edit.

5. Edit mode is indicated by a RED ⬛, flashing [BANK] button. The

selected cycle will flash and play in loop. If multiple cycles are selected
they will play in a chained loop.

6. Change one or more parameters. For example; Turn (PITCH) and Turn
(REPEATS). The parameter values adjusted will be locked and saved
into the cycle. This is specific to edit mode.

7. The edited cycle value button will be lit, or if selected flash RED ⬛ to
signify that the parameter edits have been made.

8. Playing the pattern will now play cycles and their progressions.

9. To exit Cycles Edit Mode, Press [BANK]. If playing, any cycles being
edited and therefore on loop will return to the normal playback mode.

10. To switch from cycle view to track view while keeping cycle edit mode
active, Hold [CTRL] + [BANK].

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7.3 Number of Cycles NOTES

Cycles will play in order. Each parameter set will play its edited values. This
helps to create arrangements and progressions. The default starting point
is 4 cycles, but up to 16 per track are selectable and a minimum of one
cycle is possible.

Example: Cycles Progression.

Cycle 1 Cycle 2 Cycle 3 Cycle 4

Original Original Parameter Parameter

Parameters Parameters Set 2 Set 2

Part 1 First Change Up

▌ CHANGING NUMBER OF ACTIVE CYCLES

1. Select the pattern and track.

2. To view the cycle page, Hold or double tap (CYCLES).

3. Number of cycles can be changed in or out of edit mode.

4. To set the number of active cycles, Hold [CTRL] + (CYCLES) + [VBx]

where ‘x’ refers to the number of cycles to select.

5. To increase the number of active cycles, Hold [CTRL] + Turn (CYCLES)

Clockwise. The additional cycles, up to 16, will illuminate.

6. To reduce the number of active cycles, Hold [CTRL] + Turn (CYCLES)

Counter-clockwise. One cycle is the minimum.

7. Changing the number of cycles, deactivates or activates cycles,

meaning any edits still exist even when a cycle is set inactive ie when
decreasing cycles. This can be restored when the cycle is made active
again i.e. when increasing cycles.

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NOTES 7.4 Clearing Cycles
Individual cycles and also all automation for a parameter can be cleared
and reset to an original state.

▌ CLEARING CYCLES

1. Select the pattern and track.

2. To view the cycle page, Hold or double tap (CYCLES).

3. Press [CLEAR] + Press [VBx] for the value button that represents the
cycle to clear and reset to the original value. This function operates in or
out of edit mode.

4. The selected cycle is cleared and reset to original values. The button
will flash to confirm

▌ CLEARING PARAMETER AUTOMATION

1. Select the pattern and track.

2. To view the cycle page, Hold or double tap (CYCLES).

3. Press [CLEAR] + Press (Knob) for the parameter automation to clear

and reset. This function operates in or out of edit mode.

4. The selected parameter automation is cleared and reset to original

values. Note that some parameter resets will also affect other
parameters. For example if repeats and pitch are set to a cycle and
pitch is cleared, the repeats also will be removed. However if only
repeats are removed, pitch will stay in tact.

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7.5 Arranging Cycles NOTES

Cycles can be copied and pasted into other cycle slots. Cycle 1-16 can be
copied to any other 1-16 slots. Note that while cycles can be copied to
inactive slots, this will require a cycle to be active in order for it to play.
Multiple cycles can also be selected and edited together.

▌ COPYING & PASTING OF CYCLES

1. Select the pattern and track.

2. To view the cycle page, Hold or double tap (CYCLES).

3. Copy / Paste can be performed in or out of edit mode.

4. Keep holding [CTRL] + [COPY] throughout.

5. To copy a cycle, Hold [CTRL] + [COPY] + Press [VBx] value button of

the source cycle ‘x’ to copy. Keep holding [CTRL] + [COPY].

6. The button will flash GREEN ⬛ to indicate copy to clipboard.

7. While still holding [CTRL] + [COPY] + Press [VBx] to paste into the
destination cycle slot ‘x’.

8. The destination button will flash GREEN ⬛ to indicate paste.

9. Note that existing cycles are overwritten.

Hold [CTRL] + [COPY] throughout

Copy Paste
+ [VB2] + [VB6]

Cycles, in this case [VB6} must be active in

order for the pasted cycle to be played.

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NOTES 7.6 Cycle Behaviour Notes
Editing individual cycles is possible in edit mode. When not in edit mode,
any adjustments will apply across all cycles. The [BANK] button is unlit
when cycle edit mode is inactive and when edit mode is active is lit RED ⬛.

• Edits to parameters outside of cycle mode will be applied to all

automated cycles.

• Changes made outside of edit mode to parameters will be applied

relatively to all cycles.

• Using [VBx] Value buttons when editing inside a parameter out of

cycle edit mode will make absolute changes to all cycles. This means
automation is cleared.

• Each cycle can have its own per-step edit settings. All parameters
can be automated within cycles except delay, length, quantize and
tempo.

• Hold [CTRL] + [BANK] in cycle view to switch directly to the pulse

sequencer view.

• Multiple cycles can be selected and edited together.

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7.7 Randomisation Overview NOTES

Random is a function that operates globally as a 16 step sequence in

parallel to all of the primary T-1 parameters. It allows random and
unpredictable variations to be applied to parameter values over the period
of the random sequence. The sequence can be slewed. Think of this as a
generative random modulation sequence lane per parameter.

C C C C C R C R

R R R R R C R

(PARAMETER) Modulation applied

+ to the parameter.
(RANDOM) Sets Amount

Phase Shift Slew

Modulation Range
(RANDOM)
Sets Variance
0% - 100%

Parameter Lane Parameter Lane

[CTRL] Rate of Random

RATE + Sequence.
(RATE) Sets Division.

Local

Global

Random operates as a global function affecting all randomised parameter sequences. Specific
parameters have the amount of modulation set individually.

C R

Cycle Controlled Rate Controlled

Governed by Cycle iterations. Length Governed by Step iterations.
determined by steps & division. Time division set by rate.

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 Cycles & Random 7
NOTES 7.8 Random Selectable Parameters
The primary parameters labelled with the white text font are typically the
ones that can be randomised plus also the secondary function probability.
Tempo is an exception and cannot be randomised. The random modulation
amount setting is bi-polar.

Parameter Control Affects

1 Steps Cycle Changes the number of steps after each cycle.

2 Pulses Cycle Changes the number of pulses after each cycle.

3 Cycles Cycle Probability of skipping or repeating a cycle

4 Division Cycle Probability of the division multiplier macro being

applied plus triplets / quadruplets in negative range.
5 Velocity Cycle Velocity of Individual pitch menu notes.
Monophonic random when set left / negative,
polyphonic random when set right / positive.
6 Pitch Cycle Transposes the notes on each cycle.
Monophonic random when set left / negative,
polyphonic random when set right / positive.
7 Scale Cycle Applies a new Scale algorithm adjustment for major /
minor changes after each cycle
8 Sustain Rate Amount of randomisation applied to extend the sustain
value. Monophonic random when set left / negative,
polyphonic random when set right / positive.
9 Repeats Rate Number of repeats after each pulse

10 Time Rate Probability of the division multiplier macro being

applied plus triplets / quadruplets in negative range

11 Voicing Rate Adds randomness to voicing - range right / positive or

style parameter - range left / negative
12 Range Rate Amount of melodic note movement. Monophonic
random when set left / negative, polyphonic random
when set right / positive.
13 Accent Rate Velocity of notes. Monophonic random when set left /
negative, polyphonic random when set right / positive.

14 Timing Rate Adjusts micro-timing. Monophonic random when set

left / negative, polyphonic random when set right /
positive.
15 Channel Rate The change of notes transmitted. Monophonic random
when set left / negative, polyphonic random when set
right / positive.
16 Probability Rate Probability. Evaluated per step.

17 Length - Length of current track and random start point for

positive settings.
18 CC Tracks - Applied the random 16 step bi-polar sequence to the
CC value of a CC track parameter.

Polyphonic Random: Applies random changes to each note differently. The setting is
adjusted in the positive / right side random coarse range.

Monophonic Random: Applies random changes to all notes equally. The setting is adjusted
in the negative / left side random coarse range.

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7.9 Parameter Randomisation NOTES

Multiple parameters can be randomised. The global amount of

randomisation can be adjusted as well as the time division rate. Random is
set up and applied in conjunction with one or more parameter controls.

Random + Parameter View Mode.

WHITE ⬛ BLUE GREY ⬛

Fine Tune & Select Phase Shift Modulation

Random Parameter View

Hold (RANDOM) +
Press (Knob).

PINK ⬛ BLUE GREY ⬛

Coarse Values Phase Shift Modulation

-100% +100%

Holding (RANDOM) + Turn (Knob) will adjust the amount of modulation

that is applied to the selected parameter. The WHITE ⬛ button will flash
when slew is applied.

Random Probability View Mode.

Loops Sequence PINK ⬛

Probability % Set

Random Probability View

0% 25% 50%
Hold (RANDOM)
75% 100%

BLUE GREY ⬛
Off

Turning (RANDOM) will adjust the probability of a random event happening.

100% means the random progression will always happen. A value in between
will apply % probability of a random event happening.

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NOTES

▌ APPLYING RANDOMISATION TO A PARAMETER

1. Select the pattern and track.

2. To view the random page, Hold or double tap (RANDOM).

3. To view the random state. Keep holding (RANDOM) + Press (Knob).

Where Knob is one of the available random selectable parameters.

4. Apply an amount of randomisation to a parameter, i.e. one of the

available random selectable parameters.

• Keep holding (RANDOM) + Press (Knob) + Press [VBx]. The option

is bi-polar and can be adjusted +100% [VB16] and -100% [VB9].
Note double tap (RANDOM) to keep this option selected and then
press (Knob) + [VBx] to change the setting. Quick method which will
also visualise state.

• Keep holding (RANDOM) + Turn (Knob). The option is bi-polar and

can be adjusted +100% Clockwise and -100% Counter-clockwise.

• Keep holding (RANDOM) + Press & Turn (Knob). The option is bi-
polar and can be adjusted +100% Clockwise and -100% Counter-
clockwise. Slower but will also visualise the state.

5. The Phase can be changed to ‘slide’ forward or backward the random

sequence for the parameter to create even more variation. Hold
(RANDOM) + Press (Knob) + Press [VB8] or [VB16] to iterate the phase
shift one step each press.

6. The sequence shape can be slewed for a smoother pattern. Hold

[CTRL] + (RANDOM) + turn (Knob) to apply slew.

7. Repeats steps 3-5 for other parameters to build more movement and
interest into the sequence.

Phase shift and slew of Random Sequence

[VB8] [CTRL] + (RANDOM) + Turn (Knob) [VB16]

Slew Shape

Each parameter has a modulation sequence lane to manage the randomisation

variation. This can be phase shifted for more interest. Each press of [VB8] will phase
shift steps earlier, [VB16] will phase shift steps later. In addition a slewed ,smoothing
feature can be applied to the sequence shape.

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7 Cycles & Random
NOTES

The three key parameters in applying random modulation start with the
amount of randomisation. This is a parameter specific setting and when a
value is assigned then randomisation is applied. The second parameter is
to ability to shift the phase of the random modulation forward or back.
These are local parameters applied to each parameter’s modulation
sequence. The third option is a global value which sets the overall evolution
of the random sequence, generating the random step values and range.

Think of the randomisation control as evolving the values of the modulation

sequence, as well as changing multiple related algorithms simultaneously,

▌ ADJUSTING THE RANDOM PROBABILITY

1. Select the pattern and track.

2. To view the the probability amount, Hold or double tap (RANDOM).

3. Applying randomisation.

• Keep holding (RANDOM) + Press [VB1] - [VB16]. The option

adjusts the amount 0-100%. Note, double tap (RANDOM) to keep
this option selected and then press [VBx] to change the setting.
Fastest and will visualise the active state.

• Turn (RANDOM). The option adjusts the amount 0-100%.

• Hold & Turn (RANDOM). The option adjusts the amount 0-100%.
Slower but will visualise the active state.

4. The 0% value i.e. all value buttons lit BLUE GREY ⬛ will loop the
random sequence. A value of 100%, all value buttons lit PINK ⬛ will
always apply randomisation.

Random Sequence Evolution

(RANDOM)

Random has a nominal 0-100% range but is not simply a linear value change. This
sets the cyclic value shape of the random sequence as it evolves and is regenerated

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 Cycles & Random 7
NOTES 7.10 Parameter Randomisation Behaviour
The behaviour of each parameter randomisation and the adjustment
controls will be specific to each parameter. The general operating controls
and adjustment process is the same but the outcome may be different.

The descriptions refer to the respective parameter when randomising i.e.

random + parameter value button view. The options are not always a linear
+/- value but may apply an algorithmic or inversion change.

Steps
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Reduces the number of steps to a random Increases the number of steps to a random
triplet / quadruplet number at the change of number at the change of each cycle.
each cycle.

Pulses
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Reduces the number of pulses to a random Increases the number of pulses to a random
number at the change of each cycle. number at the change of each cycle.

Cycles
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Probability to repeat any cycles which have Probability to skip any cycles which may be
been played prior. played in the future.

Division
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Negative sets the chance of converting Positive sets the chance of division
between quadruplet < > triplet values and multiplication x2.
also multiplication x2.

Velocity
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Applied to the notes as assigned in the pitch Applied to the notes as assigned in the pitch
menu. Changes all the notes equally with menu. Changes each note differently with
monophonic random behaviour. polyphonic random behaviour.

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7 Cycles & Random
NOTES

Pitch
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Transposes the pitch menu notes at the end Transposes the pitch menu notes at the
of each cycle. Changes all the notes equally, change of each cycle. Changes each note
same chord shape, with monophonic random differently with polyphonic random behaviour.
behaviour.

Scale
Change at end of cycle.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Ignores the selected scale and applies a Ignores the selected scale and applies a
major / minor scale shift based on the circle of major / minor scale shift based on the circle of
fifths and with reference to the current root. fifths and with reference to the current root.

Sustain
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Amount of random sustain note extension. Amount of random sustain note extension.
Changes all the notes equally with Changes each note differently with polyphonic
monophonic random behaviour. random behaviour.

Repeats
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Reduces repeats on each step. Increases repeats on each step.

Time
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Negative sets the chance of converting Positive sets the chance of the division
between quadruplet < > triplet values and multiplier x2 being applied.
also multiplier x2 being applied.

Voicing
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Adds randomness to the style parameter. Adds randomness to the voicing parameter

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NOTES

Range
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Randomises in semitone decrements the Randomises in semitone increments the

range variation for individual notes. Changes range variation for individual notes. Changes
all the notes equally with monophonic random each note differently with polyphonic random
behaviour. behaviour.

Accent
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Velocity accent randomised for the notes as Velocity accent is randomised for the notes as
assigned in the pitch menu. Changes all the assigned in the pitch menu. Changes each
notes values equally with monophonic note differently with polyphonic random
random behaviour. behaviour.

Timing
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Applied to the notes as assigned in the pitch Applied to the notes as assigned in the pitch
menu. Changes all the notes equally with menu. Changes each note differently with
monophonic random behaviour. polyphonic random behaviour.

Channel
Change per Step.

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Changes all the notes to a channel equally Changes each note to a channel differently
with monophonic random behaviour. with polyphonic random behaviour.

Probability
Change per Step

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Probability is affected directly by the Probability is affected directly by the

(RANDOM) control which also allows (RANDOM) control also allows modulation to
modulation to be reloaded. Probability of be reloaded. Probability of only notes being
pulses including repeats being silenced. silenced.

Length
Not Specifically linked to Cycle or Step

Negative Range - Value Buttons Left Positive Range - Value Buttons Right

Length has it’s own randomisation algorithm Start point is randomly set to give a beat
and is not affected by (RANDOM) knob. repeat effect.

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 NOTES

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 8
MIDI & WiFi Connectivity
T-1 is a sequencer which relies on it’s can control desktop synthesizer modules using
connected devices to orchestrate a musical traditional MIDI connections and even connect to
production. Connectivity is therefore at the tablets and mobile devices. Setting the
heart of T-1 and the multiple options such as configuration and following the right techniques
MIDI, CV and WiFi all contribute to its is important. To truly know how the output of the
versatility. MIDI is the most common protocol T-1 sequencer and it’s patterns generate sounds
for connecting musical gear. Having the and music is something that relies heavily on the
traditional 5 Pin DIN and also USB options connected instrument. It is normal practice to
available covers most bases, but bear in mind have devices connected while composing
USB is also the connection for the T1 power patterns and generally develop by ear more than
supply input. T-1 has a MIDI USB C-Type by process alone. Generating and creating
connection plus MIDI DIN which is interfaced tracks is an iterative and artistic process. The
using a Type ‘A” MIDI to Mini Jack adapter. default configuration should be ok to get started
Ableton Link is a wireless technology that with the MIDI and WiFi setup, but settings can be
allows remote synchronisation and transport changed using the T-1 config tool. Getting the
control between devices. This is a technology right sound by adjusting synths parameters,
also supported by T-1. So what does all this settings and creating a sound is of course a
really mean? T-1 has the ability to connect to prerequisite in composing music with T-1.
various devices, for example by USB to control Remember T-1 is part of a musical setup and
PC/Mac based Digital Audio Workstations and relies fully on the connected gear sounds and
associated plugins as a software solution. It behaviour to deliver its full creative power.

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8 MIDI & WiFi Connectivity
8.1 MIDI Definitions NOTES

In order to clarify some of the terminology and technology around MIDI with
respect to the T-1 a summary of key definitions is provided. T-1 uses a TRS
to Type A MIDI Adapter. Also MIDI over USB is possible.

5 PIN MIDI 5 PIN to TRS MIDI

MIDI DIN 24 MIDI DIN 48 MIDI

This is often found for MIDI This is often found for MIDI Musical Instrument Digital
Out and Thru and enables Out and Thru and enables Interface. A protocol for
syncing of classic devices. syncing of classic devices. communicating between
This uses 0v & 5v messages This uses 0v & 5v messages electronic musical gear.
as sync signals at 24 pulses as sync signals at 48 pulses Never connect MIDI gear to
per quarter note (PPQN). per quarter note (PPQN). incompatible DIN signals. T-1
has USB and 5 Pin MIDI
connectivity options.

MIDI CC MSB & LSB MIDI STANDARDS

MIDI Control Control and Most Significant Byte and While there are MIDI
Note change messages are Least Significant Byte. MSB standards defined, many
used to communicate provides the 128 data synth developers interpret
messages across MIDI with resolution which is ok for this in slightly different ways.
values of 0-127. Control most MIDI applications. More Its always worth reviewing
Changes (CC) affect advanced devices use MSB the documentation with each
parameter values. T-1 can and LSB values increasing to fully understand each
control defined CC resolution to 16,384 steps. device level implementation.
assignments.

NRPN SYSEX SDS

Non-Registered Parameter System Exclusive. This is an Sample Dump Standard. This

Number is part of the MIDI expansion of the normal MIDI is an older transfer protocol
standard. CC and NRPN are communications set up and is used for transferring data to
technically very similar but typically used for transferring and from devices. This is
NRPN is less well defined in data such as back ups, rarely seen nowadays.
the standards. NRPN uses patches, presets and
more data and can give firmware updates to and from
better control. devices.

The term ‘primary lead’ will refer, in this guide to a device that has the main control responsibility.
For example, one which controls the clock and transport and is the central lead. It is typical for T-1
to be a primary lead. A device which will be controlled by, and will follow the primary lead device
and which will be subservient by responding to the main control messages will be called a
‘secondary follower’. A synthesizer module could be a typical secondary follower.

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NOTES 8.2 MIDI Hardware Connections
The rear of T-1 is the location for the input / output connections for external
gear. These can be configured within T-1 but act as the physical interface
between other hardware and software systems.

MIDI IN using a 3.5mm Jack to 5 MIDI USB-C

Pin MIDI adapter type A. USB-C to USB-A cable
(one supplied)

MIDI Out, using a 3.5mm Jack to 5 MIDI Thru, using a 3.5mm Jack to
Pin MIDI adapter type A. 5 Pin MIDI adapter type A.
(one supplied)

MIDI OUT
Transmits all MIDI sequencing and control information to a connected
device, system or application. For example a T-1 sequence will control a
MIDI synth module.

MIDI IN
T-1 receives MIDI information which can be directed straight out to MIDI
Thru port or can be processed by T-1 internal MIDI FX Track functions
before sending to the MIDI Out port. This is a unique and creative way to
use T-1 as a MIDI processor when sequencing on another device.

MIDI THRU
Transmits all MIDI information received on the MIDI input port to the MIDI
Thru output. T-1 does not affect the incoming MIDI and Thru is a replication
of MIDI In data. This is default behaviour but can be set as a second MIDI
Out in the T-1 Config settings.

MIDI USB
Transmits and receives MIDI from an external device. The USB connector
also acts as T-1 power source.

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8.3 MIDI Channel NOTES

The MIDI Channel setting is directly accessible from T-1 front panel. It is
important that the receiving device is matched up with the T-1 MIDI
Channel. Multiple channels can be set per track. The Channel is set on T-1
per track enabling multiple devices to be controlled simultaneously. Default
is for the channel to match the track number.

Channel View per Track

WHITE ⬛ GREEN ⬛
Selected Channels Available Channels

Channel View
1 2 3 4 5 6 7 8

Hold (CHANNEL)
9 10 11 12 13 14 15 16

▌ ADJUSTING THE TRACK MIDI CHANNEL

1. Select the pattern and track. MIDI Channel is set per track.

2. To view the current MIDI channel, Hold or double tap (CHANNEL). The
WHITE ⬛ lit value button will indicate the currently selected channels.
Value buttons represent channels. [VB1] = Channel 1, [VB2] = Channel
2, up to [VB16] = Channel 16

3. To select a channel use one of the options:-

• While the channel page is on display, press one or more GREEN ⬛

value buttons to select a new channel. The currently selected
channels are displayed WHITE ⬛.

• Turn (CHANNEL) to change channel while visualising the setting on

the value buttons.

• Press & Turn (CHANNEL) to change channel.

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NOTES 8.4 MIDI Configuration Considerations
The global MIDI settings are accessible within T-1 using the T-1 Config tool.
Most default settings should be good to get started but in some
circumstances these may need to be changed. The actual settings to use
are highly dependant on the hardware configuration applied. The main T-1
MIDI settings to consider are found in the MIDI I/O page.

T-1 Config is a Mac/PC utility so standard mouse commands are used to

edit. More information on the general T-1 Config tool is given later.

T-1 Config - MIDI i/o Page

MIDI USB

t|so

Controls the behaviour of the MIDI communications across the USB connection. USB
allows MIDI messages to be sent and received across the connection. Settings for In and
Out can be configured independently. Illustration shows defaults.

Notes: MIDI Note filter that, when ON, prevents notes being sent out of the T-1 USB port.

Clock: Normally this would be ON for messaging out. This will allow T-1 to be the primary
controller governing the clock timing of the setup. Connected follower devices should then
be set to receive an external clock. Typically only one device controls clock in a system.
The clock can also be set to on to receive clock signals in, thereby controlled externally. T-
1 Clock hierarchy is 1. Analog Clock, 2. MIDI Clock, 3. Link. Tempo is disabled when an
external MIDI clock is in control.

Start / Stop: The T-1 Start and Stop commands would be transmitted to other devices
when ON. Equally the Start and Stop messages from another device can be received by
T-1 when set to ON within the MIDI usb ‘in’ section.

Prg Change: MIDI Program change messages allow presets or patches to be changed on
the receiving device. When set to ON the T-1 can send ‘out’ or receive ‘in’ a program
change message. The actual behaviour is very much device dependant.

MIDI trs

t|so

Controls the behaviour of the MIDI communications across the MIDI TRS connection. This
would be connected to the MIDI Type A dongle for 5-Pin MIDI connections. This allows
MIDI messages to be sent and received across the connection. Settings for In and Out
can be configured independently. Illustration shows defaults. The descriptions of each
function operate the same ways as the USB MIDI settings described above.

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8 MIDI & WiFi Connectivity
NOTES

The option to re-configure the MIDI Thru connection as a second MIDI out
is possible within the config options. Instead of the default behaviour where
the MIDI through reflects the MIDI incoming messages, the MIDI thru will
reflect the MIDI Out messages.

T-1 Config - MIDI i/o Page

Thru Port Functionality

t|so

When set to ‘Thru’ the MIDI Thru trs port located at the rear of the device will act as
normal, reflecting any incoming MIDI messages from the MIDI in connection also to the
thru port. When this is set to ‘Out’ the MIDI Thru trs port at the rear will operate as a
second MIDI output port. This will reflect the MIDI messages sent to the out also at the
thru trs port. An additional set of MIDI trs ‘Out2’ options will also be available for
configuration specifically of this second output.

MIDI Thru

Default behaviour is for the MIDI in

messages to be also directed to the MIDI
Thru port. MIDI out is independent.

MIDI Out 2

Optional behaviour is for MIDI Out messages

to be also directed to the MIDI Thru port as a
2nd Output. MIDI In is independent.

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 MIDI & WiFi Connectivity 8
NOTES 8.5 MIDI CC Track Overview
So far all the descriptions and guides have focussed on note based
sequencing. T-1 also has the ability to sequence and communicate MIDI
CC - Control Change messages. Tracks by default are note tracks, signified
by the ORANGE ⬛ track colours. CC Tracks are coloured CYAN ⬛. FX
Tracks are coloured MAGENTA ⬛.

What is MIDI CC?

In the standard MIDI protocol CC represents Control Change messages.

Instead of triggering and controlling note data, CC controls a specific
parameter and its values. MIDI implementation for devices usually has CC
assignments pre-mapped to specific parameters.Some devices can be
mapped peer to peer manually. The device documentation will usually
identify and tabulate details of Control Change implementation and which
CC number represents which of its parameters and the ranges applied.

T-1 MIDI CC Track

The CC track mode can be selected when working with control change
sequencing as opposed to note message sequencing.

ORANGE ⬛ CYAN ⬛
Selected Note Track(s) CC Track(s)

Track View
Default ‘home’ view. Shows the selected
track(s) with the value buttons.

MAGENTA ⬛
FX Track(s)

▌ SELECTING CC MODE FOR A TRACK

1. Press [BANK] to ensure the ‘home’ track view is in focus. The track view
will be shown by default at start up. Currently playing tracks will flash.

2. Track view will be displayed which by default allows editing of notes and
therefore the active tracks will illuminate ORANGE ⬛.

3. To select a track in CC mode. Hold [CTRL] + [VBx] where ‘x’ is the value
button for the track to select. CC Tracks will illuminate CYAN ⬛.
Pressing [CTRL] + [VBx] cycles through note, CC or FX track mode.

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8.6 MIDI CC Applications NOTES

Control Change mode can be used for several applications. The Shape,
Groove and Tonal knobs are pre-defined with CC assignments and can
therefore be applied or sequenced to change the values. The Random
control can also apply a pseudo-random sequence. CC values can be
stored in tracks which will act as a preset patch, triggering CC changes
when a new pattern and hence track is loaded or changed.

External Device

CC# and CC Value

Value change applied

Parameter
within device operation

CC# CC# CC# CC# CC# CC# CC#

Pre-set or sequenced Knobs send CC values CC values stored as a ‘patch’ in a track

(RANDOM)
Pseudo-Random CC sequences

The CC Messages are transmitted and received across the MIDI connection
and on the MIDI Channel assigned to the track.

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NOTES 8.7 MIDI CC Manual Knob Control
The T-1 has a pre-defined set of CC parameter numbers assigned to the
control knobs when in CC Mode. These numbers ensure the source CC
matches up with the destination CC number. The value of the control
assigned to the CC number is then dynamically applied to the equivalent
destination parameter. The default assignments are CC70 - CC83 however
these can be redefined for each track.

With a CC track the knobs can control the

defined CC# parameters for the track

#70 #71 #72 #73 #74 #75 #76

#77 #78 #79 #80 #81 #82 #83

Turn (Knob) or Hold & Turn The parameter value sent from / to the CC#,
Relative Adjustment will be determined by the knob position.

Hold (Knob) + [VBx] Value sent from / to the CC#,

Absolute Adjustment determined by the value button.

0 - 127

Typically CC range is 0-127 although this may differ between devices. T-1 Range is 0-127.
As well as checking the CC number, the parameter range should also be checked for the
destination device. Some parameters ranges for example may be bi-polar -64 to 63.

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8 MIDI & WiFi Connectivity
NOTES

▌ MANUALLY CONTROLLING EXTERNAL GEAR CC FROM T-1

1. Ensure the T-1 and the target device are connected by MIDI USB or 5
Pin DIN. Parameters to enable T-1 to communicate to the device such
as Channel must be set. Some devices need to be set to receive CC.

2. Press [BANK] to ensure the ‘home’ track view is in focus.

3. Select a track in CC mode. Hold [CTRL] + [VBx] where ‘x’ is the value
button for the track to select. CC Tracks will illuminate CYAN ⬛. Notes
tracks will illuminate ORANGE ⬛ and FX Tracks MAGENTA ⬛.

4. The 14 rotary knobs in the Shape, Groove and Tonal section will be
preassigned to CC numbers, 70-76 Top row and 77-83 bottom row.

5. The mapping of the external device parameters is usually documented

in the manual. This is called the ‘MIDI Implementation’ of a device. In
this example, assume destination CC74 is Filter Cutoff.

6. To adjust the CC with T-1’s default CC assigned;

• Relative adjustment. Turn (VELOCITY) control knob will affect CC74

and therefore will manually adjust cutoff on the destination device.
This is a relative change and can adjust up or down from the current
parameter value.

• Absolute adjustment. Hold (VELOCITY) + Press [VBx], where ‘x’ is a

value button that represents an absolute value in the 1-127 range to
send to the destination device.

Example
Press (Knob) + [VBx]
Absolute Value Setting

Step

96

CC #74 Example Filter Cutoff

- +
63 64 65

Sweep

Turn (VELOCITY)
Relative Value Adjustment

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NOTES

Changing a CC Assignment

While T-1 has a set of predefined MIDI CC numbers per track, these can be
changed. This is useful to match up T-1 Tracks to different devices and
parameters and ensure maximum versatility in working with other CC’s.

CC assignments for knobs can be made in

CC mode for the track.

Knobs can be assigned a new CC number.

Double press (Knob) to select for editing
and to lock the value display view.

To select editor view, with knob parameter

value view selected;
Hold [CTRL] + [PATTERN].

BLUE ⬛ WHITE ⬛
Unit Numbers Selected Value for Digit

0 1 2 3 4 5 6 7
CC Edit View
8 9 100 100 100

GREEN ⬛
Unit Digit - ‘000’ - Selected

DARK GREEN ⬛
Tens Digit - ‘000’ - Not Selected

DARK GREEN ⬛
Hundred Digit - ‘000’ - Not Selected

Hundred option toggles between 1xx lit

WHITE ⬛ and 0xx BLUE ⬛

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8 MIDI & WiFi Connectivity
NOTES

▌ CHANGING T-1 CC KNOB ASSIGNMENTS

1. Press [BANK] to ensure the ‘home’ track view is in focus.

2. Select a track in CC mode. Hold [CTRL] + [VBx] where ‘x’ is the value
button for the track to select. CC Tracks will illuminate CYAN ⬛. Notes
tracks will illuminate ORANGE ⬛ and FX Tracks are coloured
MAGENTA ⬛.

3. The 14 rotary knobs in the Shape, Groove and Tonal section will be
preassigned to CC numbers, 70-76 Top row and 77-83 bottom row or
will contain edited CC number assignments.

4. The mapping of the external device parameters is usually documented

in the manual. This is called the ‘MIDI Implementation’ of a device. CC’s
would normally be defined based on the target parameters required.

5. Enter edit mode for CC assignments:

• Double Press (Knob), for the rotary knob to edit. The value will be
shown on the value buttons.

• Press [CTRL] + [PATTERN] to enter CC edit mode.

• The display is now locked to the CC edit view.

6. To check or edit the setting, example sets the value of velocity from the
default 74 to 95:-

• Press [VB14]. This represents the ‘100’ digit range. Press to toggle
[VB1] = ‘0’ or [VB2] = ‘1’. These toggle the hundreds digit. In this
example, should be off for 095.

• Press [VB15]. This represents the ‘100’ digit range. Press to toggle
[VB1] = ‘0’ to [VB10] = ‘9’. These toggle the tenths digit. In this
example, should be [VB10] for 095.

• Press [VB16]. This represents the ‘100’ digit range. Press to toggle
[VB1] = ‘0’ to [VB10] = ‘9’. These toggle the units digit. In this
example, should be [VB6] for 095.

7. Once completed, press [CTRL] + [BANK] to switch to the selected

parameter value view or press [BANK] to return to the track home view.

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NOTES 8.8 Sequencing MIDI CC Tracks
Sequencing CC values across a track pattern is possible in T-1. This will
allow CC automation to be performed across the track. Steps can be
assigned individual CC values.

Example: CC Sequence

Double tap [VBx] for a CC track

from the home page to select the
CC track sequencer

CYAN ⬛
CC Step

CC Sequencer View
Shows the note pulses and CC step
edits. Button flashes when editing.

ORANGE ⬛
Note Pulse

The CC values are applied to any step. The default global CC values will always be applied on
steps that have not been assigned a step edit control change value. When a step edit is present
on a step, CC Values stay until the next step edit.

Example: CC Sequence

Step 1 Step 2 Step 3 Step 4 Step 5 Step 6 Step 7 Step 8

CC #74 CC #74 CC #74 CC #74 CC #74 CC #74 CC #74 CC #74

64 G 32 G 127 G G G

127
G

G Global Value

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NOTES

▌ MANUAL PER STEP SEQUENCING - CC PARAMETERS

1. Set a Track to CC Mode by pressing [CTRL] + [VBx] to cycle through

the track modes. A CC Track will illuminate CYAN ⬛.

2. Switch to CC Sequencing mode. Double tap [VBx] where ‘x’ is the value
button representing the CC track to edit.

3. The value buttons will be shown as per the current track sequence.
Pulses will be shown on steps if they exist.

4. To enter Per Step edit mode, Press [VBx] for the step to edit. A step
does not necessarily need a pulse.

5. The selected step will flash to indicate the step is selected for editing.
The [BANK] button will flash RED ⬛ to indicate that per step edit mode
is active.

6. If required multiple steps can be selected to edit together.

Hold [VBx] + [VBx] simultaneously, where ‘x’ represents each step to
select for editing.

7. To edit the selected, flashing pulse, Turn the (Knob) for one or more CC
parameter values to adjust. Each knob should have an assigned CC
value. The parameter change is locked to the step and will illuminate
CYAN ⬛ to indicate one or more parameters are locked to the step.

8. To clear CC step edits manually, Hold [CLEAR] + [VBx] where ‘x’ is the
value button representing the step to clear. This will remove only the CC
parameter values. Note track step edits will remain in tact.

9. Press [BANK] to exit per step edit mode. Outside of per-step editing
mode, parameters are changed globally on all steps.

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NOTES 8.9 MIDI CC Tracks as Presets
The T-1 has the ability to store CC numbers along with values within a
track. Each time the track is then loaded / launched the CC values are
transmitted to the device. It may be useful to reserve CC tracks purely to
set a parameter state on connected devices.

Example: CC Track Presets

CC Track 15 CC Track 16
Active Track Pending Track

OR

CC #74 CC #77 CC #82 CC #74 CC #77 CC #82

127 64 10 0 127 99

MIDI Channel

Destination
Device

Tracks can be used to trigger or change a bank of CC values sent to a destination

device. This is ideal for example in automatically setting up a synth parameter
configuration at the start of a T-1 pattern.

Tracks: Tracks can be muted and unmuted to select the parameters to transmit. The
CC values will be updated and transmitted when a track is triggered i.e. pressing Play.

Patterns: Changing patterns will also trigger the track. This is useful when changing
CC’s on the fly, within a song. A copy of the same pattern can be made, then change
only the CC values for the preset tracks. This will then trigger the CC change with a
pattern change but as the patterns are otherwise identical, the song will play as normal.

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8 MIDI & WiFi Connectivity
NOTES

▌ CREATING CC PRESET TRACKS

1. Press [BANK] to ensure the ‘home’ track view is in focus.

2. Select a CC track. Press [VBx] where ‘x’ is the value button for the track
to select. CC Tracks will illuminate CYAN ⬛. To create a new CC track
Hold [CTRL] + [VBx].

3. The rotary knobs should be set to the CC numbers required for the
destination parameters as a pre-requisite action.

4. To create and store a CC value for a selected CC Parameter. Hold

[CTRL] + Press & Turn (Knob) defined for the target CC number to store
a value. An edited value is shown illuminated WHITE ⬛ and the default,
unedited values in CYAN ⬛ colour. If the CC assignment editor is still
on show, use [BANK] to restore main view.

5. Hold [CTRL] + Press (Knob) to view a stored CC setting by viewing the

illuminated WHITE ⬛ value buttons. The value buttons [VB1] - [VB16]
indicate the range 0-127. Press (Knob) to view the current manual CC
setting, shown in CYAN ⬛ colour.

6. Repeat steps 4-5 to create and save more CC parameter values and
develop a collection of variables to store as a preset track.

7. The parameter state will be transmitted when:-

• A track is triggered to play. This is useful when sending the starting

parameters for the device to control.

• A pattern changes. This is useful to create on the fly CC preset

changes. Patterns can be copied identically then change only the
CC preset values saved. Changing between the two will run the
same pattern but change the CC’s.

▌ CLEARING CC PRESET VALUE

1. Press [BANK] to ensure the ‘home’ track view is in focus.

2. Select a CC track to edit. Press [VBx] where ‘x’ is the value button for
the track to select. CC Tracks will illuminate CYAN ⬛.

3. Hold [CLEAR] + Press (Knob) of the CC track parameter to erase.

4. When holding [CTRL] + Press (Knob) an edited CC setting illuminates

the value buttons WHITE ⬛ and will show original, reset values as
standard CYAN ⬛ colour.

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NOTES 8.10 Random CC Sequence
The T-1 random sequence function can also be applied to each CC value
represented by a knob. The random sequence is 16 steps long with uni-
polar values that are added to the current CC value assigned to the knob.

Example: CC Track Random Sequence

CC #74 Example Filter Cutoff

Slew

64

Knob +24
40 24
Default

Random Sequence

The default parameter will be modulated in time with the 16 step random sequence.
Each step of the random uni-polar sequence will affect the CC and create an evolving
parameter change pattern including any slew setting.

▌ CREATING A RANDOM CC SEQUENCE

1. Press [BANK] to ensure the ‘home’ track view is in focus.

2. Select a CC track to edit. Press [VBx] where ‘x’ is the value button for
the track to select. CC Tracks will illuminate CYAN ⬛.

3. Hold (RANDOM) + Press & Turn (Knob) of the CC track parameter to

attach the random sequencer. Also pressing the value button when
holding (RANDOM) + (Knob) will adjust the amount.

4. A slew option can be applied to smooth the sequence. Hold [CTRL] +

(RANDOM) + Press & Turn (Knob) to apply the curve.

5. The random sequence will generate uni-polar values, step by step that
are added to the current parameter value. This can add to or subtract
from the CC value and generate a parameter change sequence.

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8.11 FX Track as a MIDI Effect Processor NOTES

Three track modes are available; Note, CC and FX. All modes operate in
parallel. The FX mode for a track allows all incoming MIDI messages to be
processed. All of the pattern tracks assigned as FX tracks will have the
incoming MIDI routed through.

MIDI FX Track Routing Example

MIDI IN MIDI OUT

Monitors All Channels Defined Track Channel

FX Track

Chords for the pulses are determined by the

incoming MIDI notes and not the pitch menu.
The track parameters are applied to notes.

FX Track

Incoming MIDI notes are passed straight into

the track real time. The track parameters are
applied to the MIDI notes before output.

FX Track

Option to use the pitch menu as a live play

keyboard. The MIDI notes manually played will
be transmitted out. Incoming MIDI notes will be
indicated ORANGE ⬛.

Tracks

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NOTES

FX Tracks allow the processing of incoming MIDI through the track. The T-1
features can be applied therefore to the MIDI notes. Think of this as
replacing the pitch menu as the source of notes and chords.

▌ CREATING AN FX TRACK

1. Press [BANK] to ensure the ‘home’ track view is in focus.

2. Select a track to edit. Press [VBx] where ‘x’ is the value button for the
track to select. By default a Note track is lit ORANGE ⬛.

3. Press [CTRL] + [VBx] where ‘x’ is the value button for the track to
assign as a FX Track. This will cycle through the assigned modes
between Note, CC Track and FX Track. Set the track to an FX Track
mode where the value button will illuminate MAGENTA ⬛.

4. Any incoming MIDI is processed through any enabled FX track and the
associated parameter settings. If pulses are present the incoming notes
or chords are applied to the pulse. If no pulses are set the MIDI will be
transferred through as it is received.

5. The MIDI output will be fed to all of the assigned MIDI Channels. Set
the channels by holding (CHANNELS) + [VBx]. Multiple channels can
be assigned to the same track.

6. An audio device connected to the MIDI output will be controlled.

▌ HARMONISING INCOMING MIDI IN AN FX TRACK

1. Ensure the track is set to an FX Track mode where the value button will
illuminate MAGENTA ⬛. Any incoming MIDI is processed through any
enabled FX track and the associated parameter settings. If pulses are
present the incoming notes or chords are applied to the pulse. If no
pulses are set the MIDI will be monitored real time as it is received.

2. To view the incoming MIDI notes, Hold [CTRL] + Hold (PITCH). To view
the pitch menu

3. Hold [CTRL] + Turn (PITCH). Also While holding [CTRL] + (PITCH),

press a [VBx] to select a note for harmonisation or Press [VB8] or
[VB16] to transpose the notes.

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8 MIDI & WiFi Connectivity
8.12 FX Track as a MIDI Keyboard NOTES

The pitch menu becomes a MIDI keyboard from within FX tracks allowing
live play of any connected instrument or device. Incoming MDI chords and
notes received will also show ORANGE ⬛ in the Pitch menu.

MIDI FX Track Keyboard Example

MIDI OUT

FX Track

Pitch menu operates as a live playback

controller, similar to a MIDI Keyboard.

C# D# F# G# A#
Chromatic
C D E F G A B

▌ FX TRACK AS A MIDI KEYBOARD CONTROLLER

1. Select or create an FX Track to edit. Press [VBx] where ‘x’ is the value
button for the track to select. An FX Track is lit MAGENTA ⬛.

2. Turn (CHANNEL) to assign a MIDI out channel.

3. Select the Pitch Menu. Double tap (PITCH) or Double tap [VBx] for the
FX track to lock the value button display as the note keyboard layout

4. Playing notes and chords will be transmitted to MIDI out. Both incoming
MIDI and Manually played notes show as ORANGE ⬛.

5. The scale and root can be edited if required.

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 MIDI & WiFi Connectivity 8
NOTES 8.13 Routing Between Tracks
MIDI data can be routed out of one track and into another. This allows
advanced MIDI configurations maximising the features of each track. This is
useful to also create alternate settings available for selection or accessed
by muting / unmuting. Muted tracks will not transmit data to a destination.
Both source and destination track notes are combined to the output.

PATTERN 1

Select MIDI Channel Out: Turn (CHANNEL)

Select Track To Route to: Press [CTRL] + Turn (OUTPUT)

Routing From Sequence Data Tracks Routing To

Track 1 Track 9

Track 2 Track 9

Track 3 Track 12

Track 4 MIDI Channel 2

Track 5 MIDI Channel 2

Track 6 MIDI Channel 3

Track 7 MIDI Channel 4

Track 8
Track 1
Track 9 MIDI Channel 1
Track 2
Track 10

Track 11

Track 3 Track 12 MIDI Channel 12

All track Notes are combined at the output.
E.g. Track 3 + Track 12 Notes Track 13
MIDI Channel 13

Track 14 MIDI Channel 14

MIDI Channel 15
Track 15

Track 16

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8 MIDI & WiFi Connectivity
NOTES

▌ ROUTING TRACKS

1. Select a Track to edit. Press [VBx] where ‘x’ is the value button for the
track to select. A Note Track is lit ORANGE ⬛.

2. To route the track to a MIDI output channel:-

• Turn (CHANNEL). The value buttons will indicate the channels

selected i.e. [VB1] is Channel 1, [VB2] is Channel 2.

• The selected channels will be lit WHITE ⬛ while the other

background buttons are lit in GREEN ⬛ colour.

• Alternatively Hold (CHANNEL) + Press [VBx] to select.

• Double tap (CHANNELS) to lock the channel value button view.

3. To route the selected track to the input of another track:-

• Hold [CTRL] + Turn (OUTPUT). The value buttons will indicate the
tracks selected i.e. [VB1] is Track 1, [VB2] is Track 2.

• The selected tracks routed will be lit WHITE ⬛ while the other
background buttons are lit in BLUE ⬛ colour.

• Alternatively Hold [CTRL] + (OUTPUT) + Press [VBx] to select.

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 MIDI & WiFi Connectivity 8
NOTES 8.14 MIDI Program Changes
Program change messages are mapped from T-1 banks and patterns used
to select or change a destination device bank, preset or patch depending
on it’s designed behaviour. Program change messages are issued 1/8th
before an actual T-1 pattern change.
Banks 1 - 8 Issues PC Messages on MIDI Channel 1

Bank 1 Bank 2 Bank 3 Bank 4 Bank 5 Bank 6 Bank 7 Bank 8

Pattern PC PC PC PC PC PC PC PC
1 1 17 33 49 65 81 97 113
2 2 18 34 50 66 82 98 114
3 3 19 35 51 67 83 99 115
4 4 20 36 52 68 84 100 116
5 5 21 37 53 69 85 101 117
6 6 22 38 54 70 86 102 118
7 7 23 39 55 71 87 103 119
8 8 24 40 56 72 88 104 120
9 9 25 41 57 73 89 105 121
10 10 26 42 58 74 90 106 122
11 11 27 43 59 75 91 107 123
12 12 28 44 60 76 92 108 124
13 13 29 45 61 77 93 109 125
14 14 30 46 62 78 94 110 126
15 15 31 47 63 79 95 111 127
16 16 32 48 64 80 96 112 128

Banks 9 - 16 Issues PC Messages on MIDI Channel 2

Bank 9 Bank 10 Bank 11 Bank 12 Bank 13 Bank 14 Bank 15 Bank 16

Pattern PC PC PC PC PC PC PC PC
1 1 17 33 49 65 81 97 113
2 2 18 34 50 66 82 98 114
3 3 19 35 51 67 83 99 115
4 4 20 36 52 68 84 100 116
5 5 21 37 53 69 85 101 117
6 6 22 38 54 70 86 102 118
7 7 23 39 55 71 87 103 119
8 8 24 40 56 72 88 104 120
9 9 25 41 57 73 89 105 121
10 10 26 42 58 74 90 106 122
11 11 27 43 59 75 91 107 123
12 12 28 44 60 76 92 108 124
13 13 29 45 61 77 93 109 125
14 14 30 46 62 78 94 110 126
15 15 31 47 63 79 95 111 127
16 16 32 48 64 80 96 112 128

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8 MIDI & WiFi Connectivity
8.15 WiFi Connection NOTES

T-1 can connect on WiFi networks which is used exclusively to connect with
other gear across Ableton Link. Only 2.4GHz networks are recognised. In
addition, T-1 can operate as a WiFi Hotspot allowing other devices to
search, find and connect to T-1 as the central WiFi hub in a network of
connected devices.

T-1 Hotspot
Example of wireless connected devices

Phone

Wireless
Network

Hotspot

Tablet PC/Mac

T-1 can be configured as an hotspot enabled device within the Torso T-1 Config app. T-
1 then is searchable over its WiFi network. Other devices such as iPad, Macbook,
iPhone, and other WiFi compatible audio gear can be connected to the network and
can operate in a synchronised way using Ableton Link.

t|so

Checked when
selected as hotspot

Other networks, filtered

as saved or available

Network and password.

Set for Hotspot access.
Also set to connect to
Hotspot
other networks
configuration

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 MIDI & WiFi Connectivity 8
NOTES

▌ CREATING A WIRELESS HOTSPOT

1. Connect T-1 to the T-1 Config host PC/Mac using the USB connection.

2. Open T-1 Config and select the ‘Wi-Fi’ Page.

3. Click on the ‘Hotspot’ named device to set up. This is in the Wi-Fi
Networks section, within the available network list. The T-1 Hotspot
name will be similar to, T-1_1234567890 but this can be renamed.

4. The selected active hotspot is indicated as checked in the network list.

5. With the hotspot selected, the options to configure will be displayed.

Select the configuration option Off, On or Auto. Select On to use T-1 as
the WiFi hotspot allowing other device connections. Set to Off to never
use as a hotspot. Auto will allow the hotspot to be used when other
saved networks are not available.

6. Optionally create a password to improve security and only allow devices

to connect using the defined password.

▌ CONNECTING T-1 TO A WIRELESS NETWORK

1. Connect T-1 to the T-1 Config host PC/Mac using the USB connection.

2. Open T-1 Config and select the ‘Wi-Fi’ Page.

3. Any available networks detected in the vicinity will be listed when

displaying the ‘available networks’ filter.

4. Select the network, enter the password and select ‘connect’.

5. Other devices connected to the same network will be able to

communicate on Ableton Link.

6. Previously connected networks will be available for future selection from

the saved network filtered list. Click the ‘X” on a network to forget and
disconnect from this connection.

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8 MIDI & WiFi Connectivity
8.16 Ableton Link NOTES

Ableton Link is a technology developed to keep instruments and devices in

sync when connected on the same network. This supports multiple devices
operating in time and their transport controlled together. T-1 supports Link
and allows interfacing with other link connected gear. These devices must
be link enabled and connected on the same network.

Link
Example between Ableton Live & T-1

PC/Mac
1 Link Tap TAP
120.00
Ableton Live Link enabled

Wireless Connection
All devices connected to the
same network or hotspot.

Synchronisation
Tempo Start / Stop Clock
Synchronisation

T-1
Devices in Link session: 1
Link ‘On’

Ensure T-1 is connected to the same network as the other link enabled devices. For
example, connect the PC/Mac hosting Ableton Live to the T-1 Hotspot (set to on) or
connect both to an available network.

Clock Hierarchy.
When multiple clocks are connected, the hierarchy places the link clock last. The T-1
Clock hierarchy is 1. Analog Clock 2. MIDI Clock 3. Link.

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 MIDI & WiFi Connectivity 8
NOTES

▌ OPENING A WIRELESS LINK SESSION

1. Ensure T-1 is connected to the same network as the other link enabled
devices. For example, connect a PC/Mac with Ableton Live to the T-1
Hotspot.

2. Ensure T-1 Config has set the Link settings in the ‘Sync’ page
configured as desired:-

• Link Synchronisation: On - Automatically connects to link enabled

devices recognised on the same network.

• Start / Stop Sync: On - recognises and acts upon the incoming start
/ stop commands from other link connected devices.

3. The number of devices connected on the same network is shown in the

T1-Config ‘Sync’ page.

4. The timing and transport features will be synchronised with the

connected devices. So tempo can be adjusted centrally.

5. Link devices can control start / stop on devices that are set to allow. T-1
[PLAY] button will pulse ORANGE ⬛ if a link session is active.

Link

Link Synchronisation On
Start Stop Sync On

Devices in Link session: 0

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8 MIDI & WiFi Connectivity
8.17 MIDI Application Example - Digital Audio Workstation
MIDI can be connected by the 5 Pin DIN using the Type A adapter or by USB. When used with PC
or Mac hosted software tools such as a DAW, the USB option is more common. The PC / Mac can
also power the T-1 hardware. This is a simple set up, useful to control software plug-in synth tracks.

Example Configuration: T-1 Controlling an Ableton Live Synth.

Ableton Live Environment

1 Plugin A Synth Plug-In Assigned

USB

MIDI From
T-1 MIDI Input from T-1
Link EXT TAP
102.00 Ch. 1 MIDI Channel 1
Monitor
In Auto Off Auto On to Monitor Input
Ableton Live MIDI Preferences Audio To
Master Audio Output to Master Bus
MIDI Ports Track Sync Remote MPE
In: T-1
Sends
MIDI Clock Sync Delay: 0.00 ms A
B
Sync Type: MIDI Clock
1.53
MTC Frame Rate: All 0

12
MTC Start Offset 00 : 00 : 00 : 00
24
Out: T-1 1 Track Enabled
36
s 48
60

Primary lead is T-1 which controls transport and clock

synchronised in the Ableton Live secondary follower.

T-1 Environment
USB Channel 1

T-1 Config
These are defaults.
MIDI usb

Notes Clock Start / Stop Prg. Change

In On Off Off Off
Out On On On Off

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 MIDI & WiFi Connectivity 8
8.18 MIDI Application Example - Desktop Synth Melody
MIDI can be connected to a desktop synth using the 5 Pin DIN and the Type A adapter. When used
with a desktop device, the MIDI DIN option is more common. This is a simple set up, useful to
control synth melodies and also synths parameters.

Example Configuration: T-1 Controlling Elektron Digitone

Digitone Environment
MIDI In

MIDI Config System

SYNC: USB CONFIG

Clock Receive = On USB Audio/MIDI = On

Transport Receive = On If using USB Connection

PORT CONFIG:
Track 1 Channel 1
Input From = MIDI or MIDI+USB
Receive Notes = On
Receive CC/NRPN = On

10 64 70

CC#9 CC#10 CC#7

Primary lead is T-1 which controls transport and clock

synchronised in the Digitone secondary follower.

MIDI Out T-1 Environment

MIDI Adapter from Output
9 10 7

Channel 1
T-1 Config
These are defaults.
MIDI trs

Notes Clock Start / Stop Prg. Change

In On Off Off Off
Out On On On Off

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8 MIDI & WiFi Connectivity
8.19 MIDI Application Example - Desktop Synth Presets
Program Change messages allow T-1 to change a preset, pattern or patch on a destination device
using MIDI messaging. The behaviour is dependant on the connected device.

Example Configuration: T-1 Controlling Elektron Digitakt

Digitakt Environment
MIDI In

MIDI Config System

SYNC: USB CONFIG

Clock Receive = On USB Audio/MIDI = On

Transport Receive = On If used with USB connection

PORT CONFIG:

Patterns are changed in Digitakt when a Input From = MIDI or MIDI+USB

pattern changes in T-1. Receive Notes = On
Digitakt patterns numbered A01 - H16 Receive CC/NRPN = On

CHANNELS:

Prog Chg In Ch = 2

G02 = Bank 15, Pattern 2 G02

G01 = Bank 15, Pattern 1 G01

Primary lead is T-1 which controls transport and clock

synchronised in the Digitakt secondary follower.

MIDI Out Pattern Changes T-1 Environment

MIDI Adapter from Output

Prog Change on Channel 1 and 2

T-1 Config
Prg. Change set to On. Others are set as defaults.
MIDI trs

Notes Clock Start / Stop Prg. Change

In On Off Off Off
Out On On On On

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 MIDI & WiFi Connectivity 8
8.20 MIDI Application Example - iPad Audio
Mobile music applications and especially on iOS platforms is a growing area of music production
and has now reached a professional level. Several Hosting apps allow audio apps and plugins
configuration as well as managing the interface with hardware.

Example iPad Overview: T-1 Controlling iOS Apps via AUM

AUM
As the host Audio / MIDI
Mixer and hub.

Audiokit Retro Piano

Plug-in Audio instrument

MSXII Fly Tape

Plug-in effect in the audio chain

Audio Channel

SPKR

1: Retro Piano

iPad / iPhone

Connection to iPad can be direct from USB-C MIDI or via a MIDI interface. Power will
need to be supplied to T-1 but this is possible from most modern iPads.

T-1 should be set as the MIDI control input and routed to the instrument app within AUM.

AUM does not inherently allow MIDI sync, transport and tempo control from an external
device. This should be controlled using Ableton Link which is a feature provided in AUM.

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8 MIDI & WiFi Connectivity

The iPad has a single USB input / output and often it is useful to connect via an Audio / MIDI
interface. The advantages are that this will power the T-1 as well as allowing an audio output
connected. A direct USB connection to T-1 is also possible.

Example Configuration: T-1 Controlling AUM hosted on iPad

iPad / AUM Environment

T-1 to play the hosted instrument

on the iPad. Other apps such as MIDI In
effects can also be controlled by
notes and CC. Transport control
via Ableton Live.

Interface Environment

Optionally connect USB direct iPad compatible interface for connecting both
Audio and MIDI is an option. This example uses
the IK Multimedia iRig Pro I/O, a single channel
iPad compatible interface

Additional Audio Stereo Out

Option i.e. Synth

T-1 Environment
MIDI Adapter from Output

MIDI Out Channel 1

T-1 Config
Defaults are shown. USB can also be used.
MIDI trs

Notes Clock Start / Stop Prg. Change

In On Off Off Off
Out On On On Off

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 MIDI & WiFi Connectivity 8
8.21 MIDI Application Example - External Controller
An external MIDI controller can be connected to T-1 to allow live play out of MIDI chords and notes.
MIDI controllers such as a keyboard, drum pads, sequencer are also options that can be connected.

Example Configuration: T-1 with External MIDI Controller

Microkorg Environment
MIDI In

Example with Microkorg as secondary follower.

The T-1 can send sequence MIDI information or
notes / sequencing from the external controller
input can be retransmitted from T-1.

Keystep Environment

MIDI Out

Controller notes can be transmitted ‘thru’ T-1 to a destination synth or use an FX track
in T-1 to process incoming MIDI before generating an output. Also the external
controller can control transport and clock.

T-1 Environment
MIDI Out MIDI In

MIDI Adapter for Input / Output

Channel 1
T-1 Config

MIDI trs

Notes Clock Start / Stop Prg. Change

In On On On Off
Out On On On Off

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 NOTES

192 The T-1 Notebook : Reference & Guide

 9
Analog Connectivity
As already stated, T-1 is a sequencer which greatly with the ability to connect to various
relies on it’s connected devices to develop devices It can control modular systems where
evolving and generative musical productions. synth voices or effects in a Eurorack system are
MIDI is a common protocol for connecting controlled and sequenced. It can control desktop
desktop devices. For modular systems and classic analog synthesizers. Setting the correct
classic equipment analog connectivity configuration and understanding the other
solutions are needed. The most common devices in the setup is important. It is normal
modular format is Eurorack which uses control practice to have devices connected while
voltages, triggers and analog clocks. T-1 has composing patterns. There are some default
the ability to connect to analog gear and a configurations that help to get started and are
variety of configuration options ensure most good foundations to adjust settings. The
applications can be covered. Analog signals configuration is changed using the T-1 config tool
are patched using single cables for each and remember that CV and Gates are linked to
function, typically with a 3.5mm mini jack the assigned MIDI channel in T-1. As with MIDI
format. T-1 has analog connectivity built in and connected devices, getting the right sound by
accessed using 3.5mm mini jack inputs and adjusting the synth parameters, settings and
outputs for gates, control voltages, sound is a prerequisite but these adjustments
synchronisation of clock and reset. An are also part of the ongoing sound design
individual control voltage input is also available process.
to access several T-1 internal functions. The
application of analog connectivity expands T-1

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9 Analog Connectivity
9.1 General Trig & CV Concepts NOTES

Analog control with audio gear is typically based on a voltage signal. There
are several applications of voltage control depending on manufacturer
preference and standards. In Eurorack, the most common modular format,
a 0-5V signal is usually used for triggering events i.e. Note, On, Off and for
modulation, pitch and velocity. Other Voltage ranges of -5V to +5V bi-polar,
0-8V or 0-10V can also be found in Eurorack format.

Trigger & Gate

A trigger is a short pulse that activates an event. Typically a note is

activated by a trigger. In T-1 Triggers have a 0-5V range although most
gear will recognise the switch is triggered below the 5V threshold. Formats
may differ in whether the increase voltage from 0 to 5V triggers an event or
whether the trigger operates on a falling edge 5V to 0. These are V-Trig and
S-Trig formats respectively. A trigger differs from a gate in that it consists of
shorter pulses. A gate would normally be controlled to be held high or low
for longer periods.

T-1 triggers are 0-5V although the input voltage tolerance is up to 10V.

Control Voltage

Control Voltage or CV is used to control absolute or relative values. A

typical application is to control Pitch of an oscillator. The most common
format being 1V / Octave although Hz/Volt is an alternative. A trigger would
activate a note and the note value set by CV. Other modulation destinations
such as affecting parameters for effects and modules are also controlled by
CV. T-1 CV can also be configured as gates.

T-1 operates with a 0-5V CV range.

Clock

A clock is used to synchronise timing between devices. Pulses are

generated typically by a nominated primary lead and other secondary
devices will synchronise to this clock. The format is based on PPQN -
Pulses per Quarter Note with 24PPQN being most common. Other options
are available but the most important consideration is to match up the clock
with devices in the configuration. A reset is also available in T-1.

T-1 Clock Hierarchy - 1. Analog Clock 2. MIDI Clock 3. Link

T-1 has clock 2, 4, 8, 12, 16, 24 PPQN Options. Reset level 5V.

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 Analog Connectivity 9
NOTES

Example CV Concepts and Applications.

Diagrams and values for Illustrative purposes only. Actual behaviour will be based on specific devices.

V/Oct - 1 Volt per Octave

Note: Frequency to the perception of pitch is logarithmic
Volts

5 Pitch
Volts per Octave is a common
4
approach to controlling pitch of an
3
analog device, especially in Eurorack.
Occasionally this may also follow an
2 alternative Hz / Volt format, used by
Korg and Yamaha.
1
A1 A2 A3 A4 A5
55Hz 110Hz 220Hz 440Hz 880Hz
Pitch

Trigger
+5 Trig
Volts

V-Trig
0 to +5V
A trigger is a short voltage pulse that
activates an event. A gate is similar but
usually a longer, controlled length. A
trigger is often used for note on, off
and switch functions. V-Trig is the most
S-Trig common, 0-5 rise to trigger. S-Trig
+5V to 0V activates on a falling 5-0 voltage level.
0
Time

Clock
+5 Clock
Volts

An analog clock operates on a series

of pulses to synchronise devices.
Pulses are normally measured Pulses
per Quarter Note - PPQN. T-1 has
adjustable settings for analog clock
rates and pulse width to help match up
to devices. Analog clock is the highest
0 order in the clock hierarchy.
Time

Modulation
Voltage ranges may vary between devices and formats
Volts

5 Range
Control Voltages can also modulate
3.75
various parameters. These may be %
ranges, absolute values, offsets etc. T-
2.5
1 has a configuration option for
1.25 velocity. While this is based on the
velocity of notes it can be used to
0 modulate any analog parameter.
0 32 64 95 127
Velocity

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9 Analog Connectivity
9.2 Analog Hardware Connections NOTES

The rear of T-1 is the location for the input / output connections for external
gear. These operate as the physical interface between other hardware
devices and can be configured within the T-1 Config utility.

Sync Out
Clock & Reset
Reset or Run Config

Gate Outputs CV Outputs

a-b a-b-c-d
Configurable as Gates

Sync In
Clock & Reset
CV Mod Input
Modulation ie Groove, Phrase

T-1 Config
CV/Gate Page

The CV and Gate outputs are configurable in the CV/Gate page of the T-1 Config tool. The
Outputs are linked to MIDI Channels. Whatever is sent to MIDI (CHANNEL) set on the T-1
hardware will also be output as assigned for the specific CV and Gate.

Pitch out at 0V is calibrated to C3

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 Analog Connectivity 9
NOTES 9.3 CV & Gate Output Configurations
The CV and Gate outputs are configurable within the T-1 Config tool. Once
set these may not need further changes, however this will also depend on
the connected devices and set up. There are 4 preset configurations
available in the T-1 Config Tool as a starting point. Note that CV can be
configured as gates, but gates cannot be configured as CV.

Example 3-Voice Configuration

T1 Config Tool - CV/Gate Page

Voice 1 Voice 2 Voice 3

Track Track Track

Channel Channel Channel

MIDI 1 MIDI 2 MIDI 3

Gate CV Gate CV Gate CV

a b b c a d

V-Trig Pitch V-Trig Pitch V-Trig Pitch

+5V Trig V/Oct +5V Trig V/Oct +5V Trig V/Oct

a Gate Output a or b
b CV Output a, b, c or d. Voice 3 has CV a configured as gate
Re-Trig New notes always steal voice

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9 Analog Connectivity
9.4 CV Mod Input NOTES

The CV Modulation input allows an external analog signal input to be used

to control several parameters within T-1. The input is expected to be a
range of 0-5V although the physical input is tolerant of voltages of up to
10V. This can be practically applied using an external LFO, Envelope,
sequencer or other CV source to generate a shape for controlling the T-1
parameters such as groove and phrase.

Example CV Mod Input

Groove & Phrase Options

Groove Phrase
External Modulator External Modulator
e.g. Function Generator e.g. Function Generator

0-5V 0-5V

CV CV
CV Mod CV Mod

Groove Phrase
1 2 3 4 5 6 7 8

The CV Inputs of the Groove and Phrase functions allow an external input to
generate a user groove template and custom cadence template respectively. The
CV In option should be selected in each of these functions and an external CV
modulation source connected.

Try creating a CV sequence on a track and patching a CV Output back into the CV
Mod input. User profiles can be created inside the T-1 on a track and then applied
as a user CV profile to the Groove & Phrase of any track using this loopback tip.

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 Analog Connectivity 9
NOTES 9.5 Analog Synchronisation
The Analog synchronisation options can be edited in the T-1 Config tool.
These are based on the analog clock settings. The analog clock is the
highest function in the clock hierarchy, followed by MIDI than Link comes
last. If multiple clocks are connected to T-1 the hierarchy dictates the
primary lead clock used.

Clock Sync Hierarchy

T1 System

Analog Clock MIDI Clock Link

1 Sync In - Clk
2 MIDI In
3 Ableton Link WiFi

Analog Clock Sync

Rate & Pulse width

Analog Clock

Rate Pulse width

Out 24 PPQN 50%
In 24 PPQN

The rate should be matched to the external device. The speed of the sequences
may be out of synchronisation i.e. Tempo if the clock rate is not matched. Try
different settings to synchronise but check manufacturers documentation first. The
pulse width can be set between 15% and 85%. The default of 50% should be ok for
most circumstances but this can be adjusted if there are issues recognising the
clock from other devices.

Analog Reset

Out reset run

In reset run

The input and output labelled sync in and sync out ‘rst’ has two behavioural options
to select from:-

Reset: Run:
Will trigger a reset pulse when the Gate signal. Gate high when T-1 is
pattern starts. This is default state. playing. Gate low when stopped.

Pattern Start Play

Stop

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9 Analog Connectivity
9.6 Latency NOTES

Latency is a side effect which occurs when connecting devices together

whether by analog means, MIDI or Link. Clock signals or triggers are sent
at one point in time and received by the other device at another point in
time. This may be extremely short and In most cases there is little or no
noticeable effect. However, some errors, even at a milli second level, may
be an issue.

Most devices therefore have a latency compensation model where

parameters can be adjusted to offset the clock to help deal with this. T-1
also has a latency compensation feature.

Latency

Clock Latency 0.0ms

Latency is usually managed on a trial and error basis as there is no absolutely

accurate process or formula. It can be very difficult to ascertain the ms error with
connecting gear. If there are noticeable errors then the clock latency can be adjusted
incrementally. The available range is -200ms to 200ms but it is advised to always
start with the default of 0.0ms.

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 Analog Connectivity 9
9.7 Analog Application Example - T-1 Primary Clock
T-1 can operate as the primary clock device in a setup where other devices will follow. This is a
common configuration. Matching up the clock pulses and run signals is important to ensure the right
tempo synchronisation. Analog synchronisation options can be edited in the T-1 Config tool.

Example Configuration: T-1 with ALM Pam’s New Workout - PNW Eurorack Module

Eurorack + PNW Environment

Tempo will follow T-1

Pam’s New Workout default key settings:

Patch Cables
• PPQN = 24 - Matches T-1

• Run? = Set to Y, i.e. Yes. To allow a run input rather

than automatic start on sensing a clock signal. This is
a more accurate configuration. T-1 Run set to give a
gate high for play and low for stop.

Pam’s New Workout synchronised as the secondary follower to T-1 as the

primary clock. Any connected devices to PNW will be synchronised.

T-1 Environment

T-1 as the primary clock. Any connected devices, i.e PNW will be synchronised.

rst clk
Sync Out Sync Out
Analog Clock

Rate Pulse width

Out 24 PPQN 50%
In 24 PPQN

Analog Reset

Out reset run

In reset run

The T-1 Notebook : Reference & Guide 201

9 Analog Connectivity
9.8 Analog Application Example - T-1 Secondary Clock Follower
T-1 can also operate as the secondary follower of a clock which is under another devices primary
control. This is a less common configuration. Matching up the clock pulses and run signals is
important to ensure the right tempo synchronisation. Analog synchronisation options can be edited
in the T-1 Config tool.

Example Configuration: T-1 with ALM Pam’s New Workout - PNW Eurorack Module

Eurorack + PNW Environment

Tempo will lead T-1

Pam’s New Workout output 5, Clock to T-1:

• Channel Multiplier = x24, Wave set to Gate.

Pam’s New Workout output 2, Run to T-1:

• Channel Multiplier = x1, Wave set to Gate.

Patch Cables

Pam’s New Workout set as the primary lead, controlling T-1 as the secondary
clock follower. Any other connected devices to PNW will be synchronised.

T-1 Environment

T-1 as the secondary follower synchronised to PNW.

rst clk
Sync In Sync In
Analog Clock

Rate Pulse width

Out 24 PPQN 50%
In 24 PPQN

Analog Reset

Out reset run

In reset run

202 The T-1 Notebook : Reference & Guide

 Analog Connectivity 9
9.9 Analog Application Example - T-1 Controlling a Synth Voice
Synth voice control at a minimum consists of triggering a note on/off and setting the note pitch.
Other parameters such as velocity modulation may also exist. External gear pitch may need tuning
to ensure a transmitted note value at the destination device matches the desired note.

Example Configuration: T-1 with Modbap Modular’s Osiris Eurorack Module

Eurorack + Osiris Environment

Osiris is a wavetable synth module with a single WT voice plus a sub wave
underlying the main. This example controls the main WT voice.

Osiris default key settings:

• Pitch may need adjusting to ensure correct

calibration of notes sent to note played.
0V is Calibrated in T-1 to note C3.

• Notes triggered from T-1

Patch Cables

T-1 Environment

T-1 Tracks assigned to Channel 1 will be routed to

the CV ‘a’ and Gate ‘a’ outputs.
a a
CV Gate

Routing Function Scaling Trig Voice stealing

gate a Channel 1 V-trig Re-trig

cv a Channel 1 Pitch V/Oct V-trig Re-trig

The T-1 Notebook : Reference & Guide 203

9 Analog Connectivity
9.10 Analog Application Example - T-1 Controlling an Effect
While Pitch and Gates can control a synth voice, the CV output can also be used to modulate
various parameters. The configuration is stated in T-1 Config as velocity and as such the velocity
values in T-1 will be used as the modulation source.

Example Configuration: T-1 with Modbap Modular’s Per4mer Eurorack Module

Eurorack + Per4mer Environment

Per4mer is a quad effect which triggers glitch, delay, reverb and tape stop
along with modulation inputs for effect parameters.

Per4mer also has clock synchronised from T-1 as primary

lead. As the effect being modulated is time based i.e. delay,
it makes sense to synchronise the clock. T-1 Velocity 0-127
will modulate the delay parameter 0-100%.

Patch Cables

T-1 Environment

T-1 Tracks assigned to Channel 1 and 2 will trigger

the Per4mer effects on/off. Channel 3 will send a CV
0-5V output on CV ‘a’ relative to the 0-127 velocity
clk a ab
Sync Out CV Gate

Routing Function Scaling Trig Voice stealing

gate a Channel 1 V-trig Re-trig
gate b Channel 2 V-trig Re-trig
cv a Channel 3 Velocity Re-trig

204 The T-1 Notebook : Reference & Guide

 Analog Connectivity 9
9.11 CV Loopback
CV can be transmitted out of T-1 to control external gear. A useful tip is to create a CV loopback by
connecting a CV output back into the CV Mod input. This allows the creation of modulation tracks
than can then be used on the groove and phrase CV control.

Example Configuration: T-1 with CV Loopback for Phrase control

T-1 Environment

Track 8 Phrase Track 16 Modulation

CV Output can be configured CV

CV Mod as velocity or pitch. CV b

Use CV In for phrase

modulation profile.

Phrase

Set a pitch variation across the track.

The T-1 Notebook : Reference & Guide 205

 NOTES

206 The T-1 Notebook : Reference & Guide

 10
System Configuration
A number of under the hood settings that The PC/Mac hosting T-1 Config is then
control global or system specific functions exist connected to the T-1 sequencer using the USB
in T-1. These settings allow selection of options connection and cable. This book shows
for user experience, general settings and illustrations and instructions based on a
connectivity configurations. As with all Macbook view but these will be similar for PC
connected applications, It is important when based applications. T-1 Config is essential when
configuring the input and output connectivity setting up the MIDI and Analog input and output
settings to apply these correctly to match the settings. The specific details of which will be
destination device. Often once set many of covered in the respective sections. Guidance on
these parameter settings can be left alone. The firmware updates is also covered in this section.
out of the box configurations are generally ok This chapter therefore gives an overview of the
for many applications, especially as a starting config pages and parameters. In depth
point. Alternate settings are also possible when application, use of connectivity options and
the need arises. Torso Electronics have synchronisation is explained in the relevant
developed a free configuration tool and utility sections. This section therefore concludes the
for accessing and editing T-1’s settings. The coverage of T-1 sequencer.
‘T-1 Config’ tool can be downloaded from the
Torso Electronics website, located in the
resources section of the site. T-1 Config
versions are available which are compatible
with Intel and M1 Mac’s and Windows PC’s.

The T-1 Notebook : Reference & Guide 207

10 System Configuration
10.1 Accessing the Configuration Settings NOTES

A PC or Mac should be connected to T-1 using the USB connection, which

will also power up the T-1. The Torso Electronics - T-1 Config must be
downloaded and installed on the PC / Mac. Illustrations shown are based
on the Mac pages. PC pages are very similar. Click the menu option top left
to access the relevant configuration page.

MIDI USB-C
USB-C to USB-A cable
(supplied)

PC / Mac loaded with the T-1

Config, Torso Electronics
t|so Configuration Tool

T-1 Config Home Page

Configuration
page menu

Currently Installed
Firmware Update Firmware Version
Check

208 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES 10.2 Firmware Update
A Firmware update is performed within the T-1 Config tool when connected
to a T-1 sequencer. The current Firmware is displayed on the ‘Home’ Page.

▌ AUTOMATIC UPDATING OF FIRMWARE

1. Connect T-1 to a PC or Mac hosting the T-1 Config tool using the USB
cable and connections.

2. Remove all other connections such as MIDI, CV etc. Only the USB
should be connected.

3. Open the Torso ‘T-1 Config’ Tool.

4. The T-1 Config will automatically search for available updates and if
found will prompt to update.

5. Do not unplug or power down during firmware update.

6. Firmware will complete and the T-1 will restart ready for use.

7. Current firmware installed on the connected T-1 device is displayed

under the ‘T-1 Algorithmic sequencer’ title.

8. Mouse Click the ‘Search for Update’ button if required to perform a

manual check.

9. A pop-up will display that the firmware is up to date or will identify the
latest firmware and prompt to install.

t|so
Your T-1 is up to date

OK

The T-1 Notebook : Reference & Guide 209

10 System Configuration
NOTES

The automatic firmware update method is the primary option when updating
the T-1. However there may be some circumstances that a manual update
is required. This process details manual updates.

▌ MANUAL UPDATING OF FIRMWARE

1. Connect T-1 to a PC or Mac hosting the T-1 Config tool using the USB
cable and connections.

2. Remove all other connections such as MIDI, CV etc. Only the USB
should be connected.

3. Open the Torso ‘T-1 Config’ Tool.

4. Select from the T-1 Config Header Menu, ‘Tools’ > ‘Upload Firmware’ >
‘Factory Version’.

5. Do not unplug or power down during firmware update.

6. The port will be automatically connected but if not the manual option will
be presented. Names on the lines of:-

• MacOS - ‘dev/tty.usbmodemXXXXX’.

• Windows - ‘Comxx’ - use baud rate 115200 or 460800?”:|{}=The

latest firmware will be uploaded to the T-1 which will take about 2
minutes. T1- will restart ready for use.

210 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES 10.3 User Interface Options
A number of user experience options are configurable. This includes
brightness, CTRL button behaviour and the ability to change the default
knob turn visualisation. These can easily be edited using the T-1 Config tool
in the ‘Misc’ page options when USB connected from a PC/Mac to the T-1.

▌ ADJUSTING BUTTON BRIGHTNESS

1. Open the Torso ‘T-1 Config’ Tool. Open the ‘Misc’ page by mouse
clicking in the top left menu options.

2. Use Mouse Click and hold to drag the ‘LED Brightness’ slider setting.

3. The range is 0-100% for the RBG button brightness and can be set to a
user preference. Default is 75%. The setting will be stored in T-1.

4. Brightness change can also be performed on the hardware. Hold

[CTRL] + Turn (TEMPO) to adjust the brightness.

▌ CHANGING CTRL BUTTON BEHAVIOUR

1. Open the Torso ‘T-1 Config’ Tool. Open the ‘Misc’ page by mouse
clicking in the top left menu options.

2. Mouse Click the button to toggle ‘Hold [CTRL] on Double Tap’.

• The ‘ON’ position will allow double tapping of the [CTRL] button to
lock its status to on.

• The ‘OFF’ position is default and will always need [CTRL] to be held
when accessing secondary functions.

▌ CHANGING PARAMETER KNOB QUICK VIEW

1. Open the Torso ‘T-1 Config’ Tool. Open the ‘Misc’ page by mouse
clicking in the top left menu options.

2. Mouse Click the button to toggle ‘Quick View’.

• The ‘ON’ position will allow the value buttons to be temporarily

displayed with the status setting when a knob is turned.

• The ‘OFF’ position will not display the value buttons when turning a
(Knob). Using Press & Turn (Knob) will visualise the button state.

The T-1 Notebook : Reference & Guide 211

10 System Configuration
10.4 Pattern Choke Options NOTES

The behaviour on how the MIDI messages controlling audio is managed on

pattern changes or when stop command is issued can be changed within
the configuration settings.

Choke on Pattern Change

WHITE ⬛ WHITE ⬛
Selected Pattern Selected Pattern

ON / OFF

MIDI Output

NOTE OFF Message

A MIDI Note off message is sent immediately when a pattern changes to choke
the audio playing. This will be off in the default settings. Note that the behaviour
of the connected device will also determine how audio is played.

Choke on Stop

STOP ⬛ WHITE ⬛
Stop Pattern Selected Pattern

ON / OFF

MIDI Output

NOTE OFF Message

A MIDI Note off message is sent immediately when a pattern is stopped to choke
the audio playing. This will be off in the default settings. Note that the behaviour
of the connected device will also determine how audio is played.

Not Choked
MIDI Notes
Choked

212 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES 10.5 T-1 Config Menu
The T-1 Config tool has a number of pages which carry configuration
settings that can be edited. In addition T-1 Config has a number of utilities
and tools than are available in the header menu. Illustrations based on the
Mac OS version.

T1 Config - Menu

T-1 Config File Edit Tools View Help

Menu Sub-Menu Description

1 T-1 Config About T-1 Config Displays T-1 Config software version. Also link to
request support email.
2 T-1 Config Services OS services options

3 T-1 Config Hide T-1 Config Hides the T-1 Config windows from display.

4 T-1 Config Notifies of Status Hides all but the T-1 Config window from display.

5 T-1 Config Show All Restores all hidden windows to be displayed

6 T1- Config Quit T-1 Config Close the T-1 Config app.

7 File Create Backup Allows a T-1 Backup of settings on a PC/Mac.

8 File Restore From Backup Allows a T-1 Restore of settings from a PC/Mac

9 File Quit T-1 Config Close the T-1 Config app.

10 Edit Undo Standard OS Undo function

11 Edit Redo Standard OS Redo function

12 Edit Cut Standard OS Cut function

13 Edit Copy Standard OS Copy function

14 Edit Paste Standard OS Paste function

15 Edit Paste and Match Style Standard OS Paste & Match function

16 Edit Delete Standard OS Delete function

17 Edit Select All Standard OS Select All function

18 Edit Speech Standard OS Speech function

19 Edit Start Dictation Standard OS Dictation function

20 Edit Emoji & Symbols Standard OS Emoji / Symbol function

21 Tools Download Firmware Allows selection of a legacy firmware to install

22 Tools Upload Firmware Allows installation of alternate firmware e.g. Beta

23 Tools Erase Banks and Settings Erases banks and settings from the T-1.
Consider this like a factory reset.
24 Tools Get Crash report Allows a crash report to be extracted and saved

The T-1 Notebook : Reference & Guide 213

10 System Configuration
NOTES

Menu Sub-Menu Description

25 View Reload Reloads the T-1 Config app.

26 View Force Reload Forces a close and reload of the T-1 Config app.

27 View Actual Size Resets the T-1 Config window to the default
actual size
28 View Zoom In Zooms in on the T-1 Config window.

29 View Zoom Out Zooms out on the T-1 Config window.

30 View Toggle Full Screen Expands T-1 Config app to full screen.

7 Help User Manual Opens T-1 Official manual.

8 Help Changelog Opens firmware change log details

9 Help Learn More Link to Torso electronics Website

214 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES 10.6 T-1 Config Pages
The detailed application and functionality of various configurations and
settings are covered in the relevant topic sections. An overview of T-1
Config and it’s pages are covered here as a reference.

T1 Config - Home Page

t|so

2
3

Setting Function Description

1 Menu T-1 Config page navigation Selects Home, WiFi, Sync, MIDI I/o, CV/
Gate, Misc pages.

2 Firmware Current firmware version Indicates current firmware installed on

the connected T-1 device. Automatic
updates will be notified.

3 Manual Update Manual Update Check Allows manual search for updates

4 Message Notifies of Status

The T-1 Notebook : Reference & Guide 215

10 System Configuration
NOTES

T1 Config - WiFi Page

Used to set up and connect devices over a wireless network. T-1 has the ability to act as a
wireless hotspot.

t|so

1
2

3
4

5
6

Setting Function Description

1 Active Network Currently connected WiFi The active connected network or hotspot
network shown checked.

2 Networks Available networks List of available or saved networks to

choose to connect.

3 Filter Lists available or saved Filters the view to list either available or
networks previously saved networks

4 Network Name Hotspot name Available when selecting a hotspot. Name

can be edited.

5 Password Password Entry Option to enter a hotspot password in order

to connect. Also entry for a password to
access a selected network

6 Use T-1 Hotspot Selects Hotspot Option Available when selecting hotspot. Option to
set as hotspot. Yes - Set as Hotspot, Off -
Do not use Hotspot, Auto - Use hotspot
when no saved networks are available

216 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES

T1 Config - Sync Page

General synchronisation between devices. Mainly covers the wireless link and analog
signal connections which are accessed at the rear of T-1.

t|so

1
2
3
4

5 6

Setting Function Description

1 Latency Clock Latency Allows compensation for any lag on
control between connected devices.
Clock Latency - Default 0.00ms. Can be
adjusted -200ms to 200ms if there is a
timing error between the clock and notes.

2 Link Sync Ableton Link Synchronisation Enables - On or disables - Off

synchronisation across wireless
connections with Ableton link

3 Start Stop Sync Synchronisation of transport T-1 reacts to incoming link messages
from peers for start stop when on.

4 Link Devices Number of connected devices Indicator of the number of link currently
connected devices.

5 Analog Clock Incoming and Outgoing clock Sets the PPQN - Pulses Per Quarter
Note rate for the analog clock connection.

6 Pulse Width Analog Clock Pulse Width Adjustment of clock pulse width for the
analog clock connections. Settings
between 15%-85% are available.

7 Analog Reset Analog Reset Input / Output Select option for the analog reset
connections. Can act as a short pulse
reset signal or run signal, high when T-1
is playing, low when stopped.

The T-1 Notebook : Reference & Guide 217

10 System Configuration
NOTES

T1 Config - MIDI i/o

Focus on MIDI Input and Output settings. Mainly covers the USB and MIDI trs
connections which are accessed at the rear of T-1.

t|so

1
2

3
4
5

Setting Function Description

1 MIDI USB In MIDI settings for USB connection Option for clock, start/stop. When On T-1
would typically be a secondary follower.
Program change received to allow
cueing / changing patterns when On.

2 MIDI USB Out MIDI settings for USB connection Option for clock, start/stop. When On T-1
would typically be a primary lead.
Program change send when patterns are
changed on T-1, when set to On.

3 MIDI TRS In MIDI settings for TRS connection Option for clock, start/stop. When On T-1
would typically be a secondary follower.
Program change received to allow
cueing / changing patterns when On.

4 MIDI TRS Out MIDI settings for TRS connection Option for clock, start/stop. When On T-1
would typically be a primary lead.
Program change send when patterns are
changed on T-1, when set to On.

5 Thru Port Thru or Out Selects how the rear thru port behaves.
Thru transmits MIDI In to Thru. Out acts
as a second output, reflecting MIDI Out.
When set to Out additional configuration
parameters are made available similar to
MIDI Out.

218 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES

T1 Config - CV/Gate Page

General control voltage and gate output routing which is based on MIDI Channels routed to
CV/Gate connections which are accessed at the rear of T-1. CV can be configured as
additional gates. Typically CV and Gates are associated with modular system interfacing.

t|so

4 8

5 6 7

Preset Settings

2-Voices 3-Voices

Drum Gates User

The T-1 Notebook : Reference & Guide 219

10 System Configuration
NOTES

Setting Function Description

1 Presets 4 defined preset configurations 2-Voices: Gate, Velocity and Pitch output
on Channels 1 & 2.

3-Voices: Gate and Pitch output on

Channels 1, 2 & 3.

Drum gates: Drum gates on channels 1-6

User: User defined and saved

configuration

2 Gates Gate Outputs a and b Configures the routing and format for gate
outputs a and b.

3 CV Control Voltage Outputs a,b,c,d Configures the routing and format for CV
outputs a, b, c and d.

4 Routing MIDI Channel routed to Gate/CV Selects the routing from the track MIDI
channel to the Gate or CV output

5 Function Application of the output Gate: Configures output as a gated pulse.

CV Outputs can also be configured as
gates. Gates cannot be set for CV.

Pitch: Configures a control voltage output

for pitch control with scaling and trig
configuration options available.

Velocity: Configures a control voltage

output for velocity control.

6 Scaling Format for Pitch Scaling V/Oct or Hz/Volt. This will depend on the
connected device format and compatibility.
Eurorack and Moog typically uses V/Oct.
Hz/V typically used with Korg and
Yamaha.

7 Trig Format for Trig Voltage Sets the trigger polarity type. V-Trig has a
+5V to trigger note on where S-Trig
activates at 0V and note off at +5V. Select
based on destination device.

8 Voice Stealing Voice Management Behaviour Selects option for behaviour of how voices
are managed:-

Top - Higher notes steal the voice.

Bottom - Lower notes steal the voice.

Re-trig - New note always steals the voice.

220 The T-1 Notebook : Reference & Guide

 System Configuration 10
NOTES

T1 Config - Misc Page

Contains general information not covered in any specific section.

t|so

1
2
3
4
5

Setting Function Description

1 Quick View Visualise value buttons Temporarily display the illuminated value
button status when turning the
parameter knob when set to ‘ON’

2 Choke NOTE OFF message Sends a MIDI Note Off message

on Pattern Change immediately when a pattern is changed

3 Choke NOTE OFF message Sends a MIDI Note Off message

on Stop immediately when a pattern is stopped

4 CTRL Option Double tap to lock Selects the option, when on, to double
tap [CTRL] to lock selection.

5 LED Brightness Brightness Setting Adjust the LED brightness of the user
interface buttons.

The T-1 Notebook : Reference & Guide 221

 NOTES

222 The T-1 Notebook : Reference & Guide

 11
Index

The T-1 Notebook : Reference & Guide 223

 Index
A D

Ableton Link 182 Delay 78, 88, 91

Accent 78, 84 Digital Audio Workstation 184

Arpeggio 108 Division 52, 58, 66

B E

Banks 32, 35 Euclidean 51, 59

Buttons 34 F

C Firmware 206–207

Cadence 130 FX Track 174, 176

CC Track 163, 165, 169, 171 G

Chain 54 Gate 192, 194–195, 217

Channel 160 Glossary 30

Choke 100, 210 Groove 78, 84–85, 196

Chromatic keyboard 115 H

Clear 39, 72, 145 Hardware 9

Clock 197–200 Harmony 109, 114

Colour 43 Hotspot 180–181

Configuration 161 I

Control Voltage 192, 195, 217 iPad 187

Copy 39, 73 K

CV Mod 194, 196 Knobs 34

Cycles 32, 142–143

224 The T-1 Notebook : Reference & Guide

 Index
L Play 53, 127

Latency 198 Power 8

Length 68 Probability

LFO 132 78, 93–94, 152

M Program change 179

MIDI 14, 158, 160 Pulse 49, 52, 58–59

MIDI i/o 216 Q

MIDI In 159 Quantize 69

MIDI Keyboard 176, 189 Quick Reference 40

MIDI Out 159 R

MIDI Thru 159 Random 148, 173

Misc 219 Range 122, 128, 134

Mute 70, 138 Repeat 96, 98, 101

N Retriggers 71

Note Length 79 Root 109, 119

O Rotate 52, 58, 60

Offset 101 Routing 177–178

P S

Pace 103, 105 Save 75

Patterns 32, 36, 48, 53, 72, 210 Scale 109, 116

Per Step 63–65, 170 Sequencer 33, 49, 51

Performance Buttons 137 Shape 58

Phrase 122, 128–129, 196, 203 Step Count 61

Pitch 109–110, 115 step 62

The T-1 Notebook : Reference & Guide 225

 Index
Steps 49, 52, 58–59 W

Style 122–124 Wi-Fi 181

Sustain 78–79 WiFi 180, 214

Sync 194, 197, 215

T-1 Config 161, 206–207, 211,

213

Tail 100

Temp 139

Tempo 38

Time 99

Timing 78, 88–89

Tonal 109, 122

Tracks 32, 48, 55, 57, 72

Transpose 113

Trigger 192

USB 159, 206

User Scale 118

Value Buttons 7, 43

Velocity 78, 82, 86

Voicing 122–123, 126

226 The T-1 Notebook : Reference & Guide

 Contact
Product Design & Development

Mathias Bredholt

Mathias Kirkegaard

Lars Buchholtz

Jonas Kenton

Contact

contact@torsoelectronics.com

Terms & Conditions

https://torsoelectronics.com/terms-and-conditions/

The T-1 Notebook : Reference & Guide 227

228 The T-1 Notebook : Reference & Guide
 Copyright © 2022 by Synthdawg & Torso Electronics

All rights reserved. This book or any portion thereof may not be reproduced or
used in any manner whatsoever without the express written permission of the
publisher except for the use of brief quotations in a book review. All text and
images are designed and created from scratch for this book by Synthdawg.

Manual Produced in the United Kingdom

December 2022 - T-1 OS 2.0.0.

www.synthdawg.com

Synthdawg

The T-1 Notebook : Reference & Guide 229

230 The T-1 Notebook : Reference & Guide