|2.4||Rate Shifted Recording|
|2.5||Auto Record Function|
|2.8||Generating MIDI Clocks|
|2.10||Long Press Record|
|3.1||Ending Record with Overdub|
|3.4||Reduce Feedback During Overdub|
|7||Mute, Pause, and Solo|
|8||Extending The Loop With Multiply|
|9||Extending The Loop With Insert|
|10||Shortening The Loop|
|11||Replacing Loop Content|
|16.3||Switch and Confirm Modes|
|16.4||Empty Loop Action|
|184.108.40.206||Time Copy Mode|
|220.127.116.11||Sound Copy Mode|
|16.8||Switch State Transfer|
|16.9||Switch Velocity Sensitive|
|16.10||Retrigger and Retrigger Once|
|17||Changing Playback Position|
|18||Changing The Start Point|
|22||Capturing a Performance|
|23||Sending MIDI Messages|
|24||Host Control With MIDI Loopback Devices|
The Record function is used to record new loops of live audio. There are several ways to start and stop a recording, in the simplest case you press the Record button once to begin recording, and again to stop recording. Immediately after the second press the loop begins playing and continues until you alter it with another function.
Before a loop is recorded for the first time, the loop is in reset mode and you will see the word Reset appear in the status display. While a loop is recording you are in record mode and will see the word Record in the status display. Unless and advanced record ending option is used, when the recording completes the loop will enter play mode and Play will appear in the status display.
If you want to discard the loop and start over you can use the Reset function to stop the loop, release all loop memory and return to reset mode. From there you can use the Record function again to record another loop.
If you want to discard the loop and immediately begin recording a new one just press Record again with while the loop is playing. The memory for the previous loop is not released until you end the new recording, you can use the Undo function to cancel the new recording and return to the original loop. Note that Undo only restores the previous loop if the previous loop was not empty (in reset mode). Once a loop is reset all history of the loop is gone, you cannot undo from reset mode.
Another way to reset a loop is to press and hold the Record button. This is referred to as a "Long Press Record" and it behaves the same as the Reset function. Using long press Record to reset the loop is a common technique when using a MIDI footswitch. Since you will almost always have a footswitch bound to the Record function you don't need to waste a footswitch bound to the Reset function, you can simply do a long press of the Record footswitch to do a reset. The loop will enter record mode for about 1/2 second (or whatever the configured long press interval is) then the loop will be reset.
Once the loop has been recorded to your satisfaction, you may begin modifying it, or combining it with loops on other tracks.
The function Sustain Record is used with triggers that can communicate both a "pressed" and "released" state. The recording starts when the trigger is pressed and stops when it is released. For a footswitch that sends MIDI notes, the recording would start when the footswitch was pressed, continue while the footswitch was held, and stop when the footswitch was released. This can make it easier to record very short loops.
If the Sustain Record function is bound to a trigger that does not support press/release states, such as a MIDI program change, it will behave the same as the Record function, requiring two presses to start and ending the recording.
The preset parameter Record Mode can be used to change the way the Record function behaves. It has these values:
RecordMode=Safe should be it's own option so you can use it with both toggle and sustain recording.
Overdubbing is the process of adding new sound to an existing loop. It is the most common way to modify loops after recording. When overdub is enabled, new sound coming into a track will be merged with the loop that is currently playing in that track. This will result in a new loop containing both the original sound and the new sound.
Unlike many loopers, overdub in Mobius does not replace the original loop. Instead overdubbing creates a new "layer". Remember that loops are not single audio recordings, they are actually made up of several audio recordings called layers. Each time you modify a loop a new layer is created. If you don't like the results of a modification you can return the previous layer with the Undo function.
Overdub is controlled with the following functions.
The Overdub function will toggle overdub on and off each time it is used.
The Sustain Overdub function will turn overdub on when the function button is pressed and turn it off when the button is released. It must be used with a sustainable trigger. This is useful if you want to create very short overdubs. Pressing, holding, then releasing a button is much faster than trying to press a button twice.
The Overdub On and Overdub Off functions turn overdub on and off without toggling. They are intended for use in scripts where you want to set the overdub state without worrying about the current state.
When a loop is playing, it is actually one of the layers in the loop that is playing. This is called the "active layer". The active layer is usually the last layer that was created, if you are displaying the Layer Bars in the Mobius window, the active layer will be highlighted. While overdub is on, a new layer is continually being created as the active layer plays. This new layer will contain a copy of what is in the active layer adjusted for feedback, then merged with the sound coming into the track adjusted by the track's input level. When the active layer plays to the end, the new layer with the overdub is "shifted" and becomes the active layer. The overdubbed layer then begins playing and a new layer is created to record the next overdub. This process continues for as long as overdub is enabled. This means that if you never turn overdub off you may generate a lot of layers.
If you decide you don't like an overdub, you can use the Undo function to discard the new layer and return to the previous layer. You can keep using Undo to go all the way back in time to the very first layer, then start overdubbing again. See the Managing Layers section for more information on using Undo.
A very useful technique is ending a new loop recording with the Overdub function. You start by pressing Record to begin recording a new loop, then when you're ready to stop instead of pressing Record again, press Overdub. The new loop is created and begins playing and you are immediately placed in Overdub mode. This is important because when you transition seamlessly from Record mode to Overdub mode we can avoid a fade at the end of the loop.
Normally when you record a loop by pressing Record twice, the left and right edges of the loop are automatically faded to zero. This ensure that there will be no abrupt changes in sample level at the loop start point. Without these fades you would usually hear a sharp "click" every time the loop reached its end point and begin playing from the beginning because the audio waveform at the end of the loop would not exactly align with the audio waveform at the beginning of the loop.
The consequence of these edge fades is that you can't create a loop that lets a sound such as a reverb tail or a cymbal crash carry over from the end of the loop back to the start and keep going. Any sound at the end of the loop will be abruptly cut off and faded to zero.
When you end a recording with Overdub the right edge fade will not be done so the sound being recorded at the end of the loop will seamlessly carry over to the to the beginning of the next layer. You will hear the cymbal crash or the reverb tail cross the loop boundary without a "fade bump". You can now leave overdub on indefinitely or wait just long enough for the sound to decay nicely then press Overdub again to end the overdub. This can result in much more natural sounding loops because the end of the loop will gradually blend with the start of the loop.
A loop is always in one major mode which is displayed in the Mode component in the user interface. The default major mode is Play. The loop will always return to Play mode when no other modes are active. Most major modes are temporary, they begin when you execute a modal function such as Record, Multiply, or Insert and then end when you execute that function again. These are called function modes. If you are already in a function mode and then execute a different function, the previous mode is canceled and will not be restored. For example if a loop is in Multiply mode and you execute the Insert function, the Multiply mode is canceled and the loop enters Insert mode. Later when you execute the Insert function again to end Insert mode the loop will not return to the previous Multiply mode, it will return to Play mode.
A loop may be in any number of minor modes at the same time, these are displayed in the Minor Modes component in the user interface. Examples of minor modes include Reverse, Half Speed, and Pitch Shift. Minor modes are not canceled when you change major modes. For example if you start in the Reverse minor mode when you execute the Multiply function, the major mode will change to Multiply but Reverse minor mode will still be active. Later when you leave Multiply mode and return to Play mode, Reverse will continue to be active.
Overdub is unusual because it has characteristics of both major and minor modes. Like a major mode it will be displayed in the Mode component in the user interface when it is active. But like a minor mode Overdub is not canceled when the major mode changes, it is just temporarily suspended. It will also be displayed in the Minor Modes component in the user interface so you can see when it has been suspended.
For example if you start in Overdub mode and execute the Multiply function, the major mode will change to Multiply and Overdub is suspended. Later when you leave Multiply mode you will return to Overdub mode. Overdub is the only major mode that behaves this way.
You may want to leave overdub on while you listen to the loop a few times with your instrument muted. While you are listening the loop without playing you usually don't want more layers to be created just because overdub was left on. Mobius will only generate a new layer if the maximum signal level of the sound received by the track exceeds a threshold. This threshold is set with the Noise Floor global parameter.
Most instruments generate some low-level noise when they are not being played. Keyboards may hiss or buzz, guitars generate lots of handling and string noise. If you see layers being added when you are not playing your instrument you may need to increase the Noise Floor value. If the value is zero then there will be no noise filter and every pass of the loop while overdub is on will generate a new layer. The default value is 15 which is adequate for most instruments including guitars with quiet pickups. If you need to raise the noise floor, increase the value by 5 or 10 until layers are no longer being created. You should not have to set this value above 1000, if you do please let us know. Be careful not to set the Noise Floor too high or else overdubs may be lost if you are playing softly.
If you are overdubbing a loud audio signal you need to be careful not to overload the loop. Mobius does not do any compression or limiting, if you overdub loud sounds over loud sounds you may exceed the maximum level which will cause harsh digital clipping. If this happens you will need to reduce the track input level or reduce feedback. Reducing the input level makes the new overdubbed sound quieter, reducing feedback makes the sound being copied from the current loop quieter.
If you prefer to leave the feedback control all the way up (127) mobius can still automatically apply a small amount of feedback while overdub is enabled. The amount of feedback reduction is small, approximately 5%. This can help reduce clipping if you overdub several times.
Normally this small amount of feedback reduction is not audible but you can turn it off with a global parameter. Open the Global Parameters window and locate the checkbox labeled Reduce Feedback During Overdub, uncheck the box to turn this feature off.
Normally the overdub functions do not obey the Quantize parameter, they are executed immediately when you press the function trigger. This is because you are usually merging new sound into an existing sound so controlling exactly where the "edges" of the overdub will be is not critical. If you start overdub a little early, just keep your instrument muted until you are ready to add something then mute it when you're done.
Quantized overdub can however be useful as an effect. If you keep a loud sound playing before and after the overdub, you can drop in overdubs that a very sharp attack and decay. To enable overdub quantization edit the preset and check the box labeled Overdub Quantized.
The rate shifting feature allows you to adjust the playback and recording rate of the loop so that both the perceived pitch and tempo of the loop change. This is similar to the Half Speed function except that you are not limited to a single rate shift of 1 octave down.
Rate shifting may be controlled in several ways using these functions.
The Rate Up and Rate Down functions move the rate up or down by one semitone relative to the current rate.
The Rate Next and Rate Previous functions select rates defined in the Rate Sequence preset parameter. A rate sequence is a space delimited list of numbers which represent positive or Negative rate changes in semitone increments. For example a rate of "1" is one semitone above normal, a rate of "-7" is 7 semitones below normal (or a perfect fifth lower). The rate sequence "wraps" on the edges so if you are on the last rate in the sequence, Rate Next will move to first rate in the sequence.
The Rate Normal function returns the rate to normal, no matter how it was shifted.
Perhaps the most useful function is Rate Shift. This allows you to use a keyboard controller to instantly access a large range of rates spread over several octaves. You normally bind a MIDI note event to the Rate Shift function, this becomes the rate center note. When you press the rate center note, the rate returns to normal. Where it gets interesting is that the notes above and below the center note are automatically assigned to semitone rate shifts relative to the center note. Notes below the center note lower the rate, notes above raise the rate. This allows you to "play" the loop chromatically, similar to using a sampler.
Note that Mobius will attempt to bind rate shift functions in a 4 octave range on either side of the center note. For best results, it is recommended that the center note use a MIDI channel that is not being used for any other functions. If a rate shift note is already assigned to another Mobius function, the previous function will have priority. To avoid these conflicts use a different channel.
When the rate is shifted, the playback of the loop will be affected by the setting of the Rate Shift Retrigger preset parameter. If this parameter is checked, then the loop will be retriggered whenever the rate is shifted. This makes it behave like a sampler. If the parameter is not checked, the rate is simply shifted without retriggering.
NOTE: Pitch Shifting is provided in release 1.24 as a "technology preview". There are still bugs in it and I do not consider it ready for real use. Still you may find it interesting to get a sense for what will eventually be provided.
Pitch shifting is very similar to Rate Shift except that the pitch is changed without changing the tempo of the loop. In all other respects the functions and parameters used to control pitch shifting are identical to those for rate shifting.
Pitch shifting may be controlled in several ways using these functions.
The Pitch Up and Pitch Down functions move the pitch up or down by one semitone relative to the current pitch.
The Pitch Next and Pitch Previous functions select pitches defined in the Pitch Sequence preset parameter. The Pitch Sequence value has the same format as the Rate Sequence value described in the Rate Shift section.
The Pitch Normal function returns the rate to normal, no matter how it was shifted.
Finally Pitch Shift allows you to use a keyboard controller to instantly access a large range of pitches spread over several octaves. The Pitch Shift function is bound to a MIDI note in the same way as the Rate Shift function. See Rate Shift for more information on how the notes are selected, and the issues this can cause.
When the pitch is shifted, the playback of the loop will be affected by the setting of the Pitch Shift Retrigger preset parameter. If this parameter is checked, then the loop will be retriggered whenever the pitch is shifted. If the parameter is not checked, the pitch is simply shifted without retriggering.
Tracks may contain several loops but only one loop at a time can be selected for playing or recording. This is called the active loop. Changing the active loop in a track a track is called loop switching. Loop switching is a complex topic because there are many options available to control when the switch happens and what happens to the new loop after it is activated.
Often you will want to use switch quantization to control when the loop switch will happen relative to the loop that is currently playing. This is important if you want to maintain a steady rhythm, for example letting the current loop play to the end before switching.
If the next loop is empty you will often want to automatically begin recording into it, or copy portions of the current loop into it so you can begin creating variations.
One of the most common uses for loop switching is to record "song parts" such as verse A in loop 1, verse B in loop 2, and a chorus in loop 3, then switch between those at rhythmically precise times.
You can also use track loops as a primitive sample player where each loop contains a different sound that when triggered plays from beginning to end and then stops.
The following functions will do some form of loop switch.
The Next Loop function will activate the next loop in the track. If the last loop is currently active, Next Loop will wrap back around and activate the first loop. The Previous Loop function works in the opposite direction, activating the previous loop. If the first loop is currently active Previous Loop wraps and activates the last loop.
The Sustain Next Loop and Sustain Previous Loop functions must be bound to a sustainable trigger . If they are not, they behave the same as Next Loop and Previous Loop. The sustain functions will switch to the new loop while the function button is held down, then they return to the original loop when the function button is released. Note that you can get sustain behavior with other loop switching functions by setting the Switch Duration parameter.
The Retrigger function starts the current loop over from the beginning. It may not sound like this would be a loop switch but it behaves like a switch away from and then immediately back to the current loop. The RetriggerOnce function restarts the current loop, lets it play to the end and then automatically enters Mute mode.
The numbered Loop functions switch directly to the numbered loop. If that loop is already selected these functions behave the same as Retrigger.
If you want to maintain a steady rhythm as you switch between loops you will usually want to use some form of switch quantization to make the switch happen at an exact time. Switch quantization is not controlled by the Quantize parameter like most functions. Instead there is a dedicated parameter named Switch Quantize that is used for all loop switch functions. This parameter may have the following values.
When the value is Off the switch will happen immediately when you press the function button.
When the value is Subcycle, Cycle or Loop the switch will be delayed until the next quantization point. You will see a white event marker under the loop meter showing when the switch will happen and the loop will enter Switch mode.
When one of the four Confirm values is selected, an extra confirmation action will be required before the loop switch will happen. After you use any of the loop switch functions, the current loop will first enter Confirm mode and wait there indefinitely. You must then execute the Confirm function to confirm the switch. See the Switch Confirmation section for other confirmation options. What happens after the confirmation action depends on which Switch Quantize parameter value was selected. If the value was Confirm the switch will happen immediately. If the value was Confirm Subcycle, Confirm Cycle, or Confirm Loop the loop enters Switch mode and waits for the next quantization point before switching.
Note that while you in either Confirm or Switch mode many functions will behave differently than they normally do. This is sometimes referred to as the "switch quantization period" and by some older EDP users as "lame duck period". This is described in detail later in the Switch and Confirm Modes section.
If you have Switch Quantize set to any of values beginning with the word "Confirm" you must execute another function to cancel the confirmation mode and proceed with the loop switch. The default function for canceling confirmation mode is Confirm. This function has no other use besides switch confirmation. If you try to execute it when the loop is not in Confirm mode it will have no effect.
You may not want to assign one of the precious buttons on your foot controller to the Confirm function since it is normally useless. It is possible to select other functions that will behave as a switch confirmation action by setting the global parameter Switch Confirmation Functions. In the Global Parameters window, select the Functions tab and locate the item selector labeled Switch Confirmation Functions. Select the functions you want to use for confirmation and move them to the right.
If you are familiar with the EDP, you may want to use the Undo function for confirmation since that is the only way to do switch confirmation on the EDP. We here at the labs don't like using Undo for confirmation because it makes it impossible to cancel the loop switch or remove "stacked" functions. We recommend one of the following functions that are often assigned to a footswitch button but are not often used during the switch quantization period.
If is recommended that you do not select one of the following functions since these have special behavior during the switch quantization period. If you do not need the special behavior you can use them as confirmation functions but review the Switch and Confirm Modes section to make sure you will not need them.
While a loop is in Confirm or Switch modes many functions will behave differently than they normally do. This is sometimes referred to as the "switch quantization period" or by some older uses as the "lame duck period".
Most functions you execute will simply be delayed until after the switch. This is called function stacking. In the user interface, you will see the function names stacking under the loop switch event marker. This can be used to queue up interesting combinations of functions and have them all execute exactly at the same time after the switch. For example, putting the next loop into Reverse, Half Speed, and Substitute modes all at once.
Until the switch occurs you can use Undo to remove stacked functions if you trigger the wrong one or decide you don't want it. Once you have removed all the stacked functions and you are left with only the switch event marker, using Undo will cancel the switch and leave you in the current loop.
NOTE: The EDP uses Undo as the switch confirmation action. If you like this and have Undo set in the Switch Confirmation Functions global parameter, then you will not be able to use Undo to undo the stacked functions and cancel the switch when you are in Confirm mode. You can however use Undo normally while in Switch mode.
A few functions have special behavior when executed during the switch quantization period.
A Sound Copy creates an instant copy of the original loop in the next loop. A Time Copy creates a clear loop of the same size as the original loop, but does not copy over any of the audio content. Both of these concepts are described in more detail later.
The difference between Overdub and Multiply is what mode the loop will be left on after the sound copy. When Overdub was stacked, the loop will always be left in Overdub mode if a sound copy occurred. If Multiply was stacked the loop will be left in the mode specified by the Sound Copy Mode preset parameter.
If you switch to a loop that is empty, the Empty Loop Action parameter will be used to determine what happens after the switch. The possible values for Empty Loop Action are:
When set to None, no automatic action will be performed. The loop will be left in Reset mode.
When set to Record, the loop will immediately enter Record mode after the switch. You can record as long as you like but you must remember to execute the Record function to end the recording.
When set to Copy a Sound Copy will be made from the original loop into the new loop.
When set to Copy Timing a Time Copy will be made from the original loop into the new loop.
Copy Timing and less often Copy Sound are very useful because they let you creating synchronized loops that are exactly the same size or an exact multiple of a common factor. See the Loop Sync section of the Mobius Synchronization manual for more information on creating synchronized loops.
When Empty Loop Action is set to Copy Timing and you switch to an empty loop, a new clear loop will be instantly created that is exactly the same size as the previous loop. This is called a Time Copy. Review the Reset, Empty, Clear, and Silent section of the Getting Started manual if you are not sure about the difference between "empty" and "clear". A clear loop has a size and it can be played and modified, it just starts out with no audio content.
In addition to copying the size, time copy will also copy the number of cycles.
When you first switch to a time copied loop, you will be placed in a mode defined by the Time Copy Mode preset parameter. The possible values are:
The default value is Insert.
When Time Copy Mode is set to Play the copied loop will simply start playing. When set to any of the other values, it behaves as if that function were automatically executed immediately after the copy. You must then remember to execute that function again to cancel that mode. For example, when Time Copy Mode is set to Insert you will immediately begin inserting into copied loop. You must press the button for the Insert function when you are finished.
The values available here are the same as those available for Sound Copy Mode. This means you can select Multiply but this is less useful after a time copy because there is no audio content to repeat so Multiply behaves almost the same as Insert. The main reason to use Multiply here is if the source loop had several cycles and you wanted to immediately use "remultiply" to remove some of the cycles from the end. See Shortening The Loop for more information on using the Multiply function to make the loop smaller.
When Empty Loop Action is set to Copy and you switch to an empty loop, the current loop will be instantly copied to the next loop. This is called a Sound Copy. From the listener's perspective, they won't know the copy happened, they will still be hearing the original loop.
You may now begin changing the copied loop using Overdub, Multiply or any other function. When you are finished modifying the copied loop you can use the same technique to create another loop, or you may switch back to the original loop.
When you first switch to a copied loop, you will be placed in a mode defined by the Sound Copy Mode preset parameter. The possible values are:
The default value is Multiply.
When Sound Copy Mode is set to Play the copied loop will simply start playing. When set to any of the other values, it behaves as if that function were automatically executed immediately after the copy. You must then remember to execute that function again to cancel that mode. For example, when Sound Copy Mode is set to Multiply you will immediately begin multiplying the copied loop. You must press the button for the Multiply function when you are finished multiplying.
Some people find it convenient to assign the Play function to a button. Play is like a universal mode canceling function, if you are in any recording mode (Record, Multiply, Insert etc.) pressing Play will cancel that mode and return you to Play mode. So after you have performed a loop copy you don't need to think about Sound Copy Mode and execute the corresponding function to end the mode, just use Play and it will cancel whatever mode you are in.
The Switch Location parameter determines where the playback position will be after you switch to another loop. The possible values are:
When using Follow, if the new loop is smaller than the current loop the playback position may need to be "wrapped" so that it fits within the new loop. For example if the current loop is 6 seconds long and you are currently at the start of second 5, then you switch to a loop that is 3 seconds long, the new loop location will be at the start of second 2.
When using Restore, if the new loop has never been played the location will be at the start. If you are using one of the methods to perform a sound copy or a timing copy (see Empty Loop Action) then the location will not be restored.
Switch Location only applies if the loop is not empty (in Reset mode). If the loop is empty then the new location will always be at frame zero of the empty loop.
The Switch Duration parameter determines how long you will stay in the new loop after a switch. This parameter is used by all switch functions except Sustain Next Loop, Sustain Previous Loop, Retrigger, and Retrigger Once. The possible values are:
The most common option is Permanent, you remain in the new loop until you change it with another loop switch function.
The Once option when combined with a Switch Location value of Start makes the loop triggering functions behave similar to a sampler. The loop always starts playing from the beginning, plays once, then stops (enters mute mode).
The Sustain option must be used with a switch function bound to a sustainable trigger . If you use a non-sustainable trigger then this will behave the same as Permanent, you will remain in the new loop but it will not enter Mute mode automatically.
The Sustain Return option must also be used with a switch function bound to a sustainable trigger . If you use a non-sustainable trigger then this will behave the same as Permanent.
Note that when Switch Duration is set to Sustain Return the Next Loop function behaves the same as the Sustain Next Loop function. Sustain Next Loop, and Sustain Previous Loop will always return to the original loop when the sustain ends. They ignore the Switch Duration parameter.
The Retrigger and Retrigger Once functions ignore the Switch Duration parameter. Retrigger always behaves as if Switch Duration was set to Permanent and Retrigger Once always behaves as if Switch Duration was set to Once.
If you switch to a loop with the Switch Duration parameter set to Once Return or Sustain Return you will eventually be automatically returned to the original loop unless you cancel the return. The Return Location parameter determines where you will begin playing in the original loop. The possible values are the same as the values for the Switch Location parameter.
When using Follow, if the original loop is smaller than the current loop the playback position may need to be "wrapped" so that it fits within the new loop. For example if the current loop is 6 seconds long and you are currently at the start of second 5, then you return to a loop that is 3 seconds long, the new loop location will be at the start of second 2.
When you execute any of the loop switch functions, you can choose to have some of the current loop modes carried over to the next loop. This is controlled with a set of "transfer mode" preset parameters found under the Loop Switch tab.
The Record Transfer parameter determines whether the Record major mode will be carried over from the current loop to the next loop. It has these possible values.
When this parameter is set to Follow, if the current loop is in Record mode, after the switch the next loop will also automatically enter Record mode. Note that this will happen whether or not the next loop is empty. This option is useful if you want to record a set of loops all at once without stopping. Start by executing the Record function to record the first loop. Then execute the Next Loop function to end the current recoding and immediately begin recording the next loop.
When this parameter is set to Off and the current loop is in Record mode, executing a switch function will finish the recording of the current loop then switch to the next loop. If the next loop is not empty it will simply start playing. If the next loop is empty the Empty Loop Action parameter controls what will happen.
The Overdub Transfer parameter determines whether the Overdub minor mode will be carried over from the current loop to the next loop. It has these possible values.
The default value is Off. If you like to leave overdub mode on all the time and control overdubbing by muting your instrument you may want to set this to Follow so you don't have to reactivate overdub every time you switch loops.
Setting this to Restore is relatively unusual because you usually care more about what the overdub state is now, not what it was in the past.
The Reverse Transfer parameter determines whether the Reverse minor will be carried over from the current loop to the next loop. It has these possible values.
The default value is Off. If you think of reverse as a "global" option that should apply to all loops in a track then set this parameter to Follow.
Setting this to Restore may be interesting if you want to have some loops that always play forward and some that always play in reverse.
The Rate Transfer parameter determines whether the Rate Shift minor mode will be carried over from the current loop to the next loop. This applies to shift applied by the various Rate functions as well as the Half Speed function. It has these possible values.
The default value is Off. If you think of rate shift as a "global" option that should apply to all loops in a track then set this parameter to Follow.
Setting this to Restore may be interesting if you want to have loops that always play at different rates.
The Pitch Transfer parameter determines whether the Pitch Shift minor mode will be carried over from the current loop to the next loop. It has these possible values.
The default value is Off. If you think of pitch shift as a "global" option that should apply to all loops in a track then set this parameter to Follow.
Setting this to Restore may be interesting if you want to have loops that always play with different amounts of pitch shift.
The Switch Velocity Sensitive parameter can be used to automatically adjust the track output level during a loop switch. This can only be used if the loop switch function is bound to a MIDI Note message that can carry velocity information. When this parameter is checked, the output level of the track will be set to the velocity value of the MIDI note that triggered the loop switch function. If a loop switch function is not bound to a MIDI Note message, then this parameter will be ignored.
This is most often used with the 8 numbered Loop X functions bound to adjacent keys on a MIDI keyboard, or to velocity sensitive pads on a control surface. Once loops have been recorded you can then "play" the loops by triggering them from the MIDI device making them softer of louder depending on how hard you hit the key/pad. If you also set the Switch Location parameter to Start and the Switch Duration to Once it will behave like a simple velocity sensitive sample player.
The Retrigger and Retrigger Once functions are considered to be loop switch functions but they are unusual because they do not change the loop. They always restart the current loop from the beginning and stay in the current loop.
They will obey the Switch Quantize parameter so that you can stack functions to be executed after the retrigger. But they ignore the Switch Location and Switch Duration parameters.
Since the loop does not change all of the Switch State Transfer parameters are also ignored.
The Bounce function allows you to capture the output of several tracks, mix them together, and copy the result into an empty track. This is similar to the bounce down mixing technique used with a multi track recorder.
When the Bounce Record function is first called, it begins capturing the output of any track that is currently playing. The track output is mixed together "post fader" so the Output Level control of each track may be used to control the track mix in the recording.
When Bounce Record is called a second time, the captured and mixed track output is copied to the first empty track (from the left). The source tracks are then immediately muted, and the new track immediately begins playing. This new track contains a single loop with the captured output from the other tracks. This loop can then be manipulated as usual.
Any number of bounce recordings can be made, but you must have at least one empty track. If there are no empty tracks when the second Bounce Record is called, the recording is thrown away.
Note that bounce recording is a special kind of "global mode" that is not related to any particular track or loop. While you are bounce recording, you can be manipulating tracks and loops in any way, including recording new loops, multiplying, overdubbing, triggering, and rate shifting. Mobius is recording the entire process.
Bounce recording can be especially useful with the Retrigger, Rate Shift and Pitch Shift functions. Once a loop is created, you can play a chord progression using Rate Shift or Pitch Shift, record the result of that performance, and bounce this into a new track to serve as a background loop.
The timing of the bounce recording may be controlled with the Bounce Quantize parameter. Bounce quantization is not affected by the Quantize parameter that is used with other functions. This is because bounce quantization is almost always set to Loop or Cycle, but you may not wish to use this same quantization for the functions that build the loop.