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Warping Audio Loops in Ableton

2026-04-17T00:58:43Z

Kamenb: Kamenb moved page Looping Audio in Ableton to Warping Audio Loops in Ableton

{{DISPLAYTITLE:Warping Audio in Ableton}}
[[Category:Ableton Live]]
'''Warping a Field Recording in Ableton's Arrangement View'''

Field recordings don't have a built-in BPM or musical grid. Ableton's audio warping allows you to stretch, compress, and anchor specific moments in your recording so they align with your session's timeline. Rather than forcing the recording to "lock to a beat," warping is a way to sculpt the timing of your material.

=== Prerequisites ===
* An audio file with clear rhythmic elements, imported into your Ableton project
* Your session tempo set (top-left of the Ableton window)

=== Step 1: Place the Recording in the Arrangement ===
Drag your audio file into an audio track in the Arrangement View ''(Tab to switch from Session View if needed).''

=== Step 2: Open the Clip Detail View ===
Double-click the clip to open its settings at the bottom of the screen. Select the '''Sample''' tab (waveform icon).

=== Step 3: Enable Warping ===
If not on already, turn the '''Warp''' toggle on. Ableton may try to detect a BPM automatically — for field recordings, this guess is usually wrong and can be ignored. The important thing is that Warp is enabled so you can place warp markers manually.

=== Step 4: Choose a Warp Mode ===
{| class="wikitable"
|-
! Mode !! Best For
|-
| '''Texture''' || Ambient, environmental, or noisy recordings
|-
| '''Tones''' || Recordings with a clear sustained pitch (humming wires, singing, wind)
|-
| '''Complex''' || Voice, layered sounds, or anything with a lot going on
|-
| '''Repitch''' || Skips time-stretching entirely — stretching changes pitch instead (tape-like effect)
|}

'''Beats''' mode is not recommended for field recordings unless you've deliberately captured something rhythmic (e.g., footsteps, machinery).

=== Step 5: Place Warp Markers ===
Warp markers are anchor points that pin a specific moment in your audio to a specific point on Ableton's timeline. By placing multiple markers, you can stretch or compress sections of the recording independently. Kind of like putting a pushpin in a rubber band.

'''Insert Warp Markers:'''
Ableton can place warp markers automatically based on detected transients (sudden changes in the audio, like a clap or footstep). To use this, right-click the clip in the Arrangement View and select '''Insert Warp Markers'''. This gives you a set of starting markers that you can then drag, add to, or delete as needed.
''Tip: For field recordings with irregular transients — wind, crowds, ambient texture — the auto-detected markers may not land in meaningful places. Use this as a starting point, not a final result.''

'''To add a warp marker:'''
# In the Sample tab, you'll see the waveform of your clip with a timeline above it.
# Double-click anywhere on the yellow warp marker bar (just above the waveform) to create a marker at that position.

'''To delete a warp marker:'''
Double-click an existing marker to remove it.

'''Move the warp markers around to warp your sample!'''

Click and drag a marker left or right to pull that moment earlier or later in time.

=== Step 6: Experiment ===
Play around! Here's some things to try:
* Placing many closely-spaced markers to create fine-grained control over a section
* Dragging a marker drastically to create stretching artifacts (especially pronounced in Texture mode)
* Using Repitch mode and warping for a lo-fi, tape-manipulation effect

There's no single "correct" result — use your ears and explore.

=== Troubleshooting ===
'''Audio sounds glitchy or robotic in a way I don't like''' Try switching warp modes. Complex or Texture usually handles non-musical material better than Beats or Tones.

'''Can't see the warp marker bar:''' Make sure Warp is toggled on in the Sample tab. The marker bar only appears when warping is enabled.

'''Markers aren't snapping where I want:''' Hold ''Cmd'' (Mac) or ''Ctrl'' (PC) while dragging to move a marker without grid snapping.

=== Further Reading ===
* [https://www.ableton.com/en/manual/audio-clips-tempo-and-warping/ Ableton Reference Manual – Warping]

Looping Audio in Ableton

2026-04-17T00:58:43Z

Kamenb: Kamenb moved page Looping Audio in Ableton to Warping Audio Loops in Ableton

#REDIRECT [[Warping Audio Loops in Ableton]]

Delte

2026-04-17T00:58:22Z

Kamenb: Kamenb moved page Warping Audio in Ableton to Delte

Warping Audio in Ableton

2026-04-17T00:58:22Z

Kamenb: Kamenb moved page Warping Audio in Ableton to Delte

#REDIRECT [[Delte]]

Delte

2026-04-17T00:58:00Z

Kamenb: Blanked the page

Delte

2026-04-17T00:56:55Z

Kamenb: Created page with "Warping a Field Recording in Ableton's Arrangement View Field recordings don't have a built-in BPM or musical grid. Ableton's audio warping allows you to stretch, compress, a..."

Warping a Field Recording in Ableton's Arrangement View

Field recordings don't have a built-in BPM or musical grid. Ableton's audio warping allows you to stretch, compress, and anchor specific moments in your recording so they align with your session's timeline. Rather than forcing the recording to "lock to a beat," warping is a way to sculpt the timing of your material.

Prerequisites
An audio file with clear rhythmic elements, imported into your Ableton project
Your session tempo set (top-left of the Ableton window)

Step 1: Place the Recording in the Arrangement
Drag your audio file into an audio track in the Arrangement View (Tab to switch from Session View if needed).

Step 2: Open the Clip Detail View
Double-click the clip to open its settings at the bottom of the screen. Select the Sample tab (waveform icon).

Step 3: Enable Warping
If not on already, turn the Warp toggle on. Ableton may try to detect a BPM automatically — for field recordings, this guess is usually wrong and can be ignored. The important thing is that Warp is enabled so you can place warp markers manually.

Step 4: Choose a Warp Mode

Mode Best For

Texture Ambient, environmental, or noisy recordings

Tones Recordings with a clear sustained pitch (humming wires, singing, wind)

Complex Voice, layered sounds, or anything with a lot going on

Repitch Skips time-stretching entirely — stretching changes pitch instead (tape-like effect)

Beats mode is not recommended for field recordings unless you've deliberately captured something rhythmic (e.g., footsteps, machinery).

Step 5: Place Warp Markers
Warp markers are anchor points that pin a specific moment in your audio to a specific point on Ableton's timeline. By placing multiple markers, you can stretch or compress sections of the recording independently. Kind of like putting a pushpin in a rubber band.

Insert Warp Markers:
Ableton can place warp markers automatically based on detected transients (sudden changes in the audio, like a clap or footstep). To use this, right-click the clip in the Arrangement View and select Insert Warp Markers. This gives you a set of starting markers that you can then drag, add to, or delete as needed.
Tip: For field recordings with irregular transients — wind, crowds, ambient texture — the auto-detected markers may not land in meaningful places. Use this as a starting point, not a final result.

To add a warp marker:
In the Sample tab, you'll see the waveform of your clip with a timeline above it.
Double-click anywhere on the yellow warp marker bar (just above the waveform) to create a marker at that position.

To delete a warp marker:
Double-click an existing marker to remove it.

Move the warp markers around to warp your sample!

Click and drag a marker left or right to pull that moment earlier or later in time.

Step 6: Experiment
Play around! Here's some things to try:
Placing many closely-spaced markers to create fine-grained control over a section
Dragging a marker drastically to create stretching artifacts (especially pronounced in Texture mode)
Using Repitch mode and warping for a lo-fi, tape-manipulation effect

There's no single "correct" result — use your ears and explore.

Troubleshooting
Audio sounds glitchy or robotic in a way I don't like Try switching warp modes. Complex or Texture usually handles non-musical material better than Beats or Tones.

Can't see the warp marker bar: Make sure Warp is toggled on in the Sample tab. The marker bar only appears when warping is enabled.

Markers aren't snapping where I want: Hold Cmd (Mac) or Ctrl (PC) while dragging to move a marker without grid snapping.

Further Reading
Ableton Reference Manual – Warping

Warping Audio Loops in Ableton

2026-04-17T00:56:07Z

Kamenb: Title

Warping Audio Loops in Ableton

2026-04-17T00:51:50Z

Kamenb: /* Prerequisites */

[[Category:Ableton Live]]
'''Warping a Field Recording in Ableton's Arrangement View'''

Field recordings don't have a built-in BPM or musical grid. Ableton's audio warping allows you to stretch, compress, and anchor specific moments in your recording so they align with your session's timeline. Rather than forcing the recording to "lock to a beat," warping is a way to sculpt the timing of your material.

=== Prerequisites ===
* An audio file with clear rhythmic elements, imported into your Ableton project
* Your session tempo set (top-left of the Ableton window)

=== Step 1: Place the Recording in the Arrangement ===
Drag your audio file into an audio track in the Arrangement View ''(Tab to switch from Session View if needed).''

=== Step 2: Open the Clip Detail View ===
Double-click the clip to open its settings at the bottom of the screen. Select the '''Sample''' tab (waveform icon).

=== Step 3: Enable Warping ===
If not on already, turn the '''Warp''' toggle on. Ableton may try to detect a BPM automatically — for field recordings, this guess is usually wrong and can be ignored. The important thing is that Warp is enabled so you can place warp markers manually.

=== Step 4: Choose a Warp Mode ===
{| class="wikitable"
|-
! Mode !! Best For
|-
| '''Texture''' || Ambient, environmental, or noisy recordings
|-
| '''Tones''' || Recordings with a clear sustained pitch (humming wires, singing, wind)
|-
| '''Complex''' || Voice, layered sounds, or anything with a lot going on
|-
| '''Repitch''' || Skips time-stretching entirely — stretching changes pitch instead (tape-like effect)
|}

'''Beats''' mode is not recommended for field recordings unless you've deliberately captured something rhythmic (e.g., footsteps, machinery).

=== Step 5: Place Warp Markers ===
Warp markers are anchor points that pin a specific moment in your audio to a specific point on Ableton's timeline. By placing multiple markers, you can stretch or compress sections of the recording independently. Kind of like putting a pushpin in a rubber band.

'''Insert Warp Markers:'''
Ableton can place warp markers automatically based on detected transients (sudden changes in the audio, like a clap or footstep). To use this, right-click the clip in the Arrangement View and select '''Insert Warp Markers'''. This gives you a set of starting markers that you can then drag, add to, or delete as needed.
''Tip: For field recordings with irregular transients — wind, crowds, ambient texture — the auto-detected markers may not land in meaningful places. Use this as a starting point, not a final result.''

'''To add a warp marker:'''
# In the Sample tab, you'll see the waveform of your clip with a timeline above it.
# Double-click anywhere on the yellow warp marker bar (just above the waveform) to create a marker at that position.

'''To delete a warp marker:'''
Double-click an existing marker to remove it.

'''Move the warp markers around to warp your sample!'''

Click and drag a marker left or right to pull that moment earlier or later in time.

=== Step 6: Experiment ===
Play around! Here's some things to try:
* Placing many closely-spaced markers to create fine-grained control over a section
* Dragging a marker drastically to create stretching artifacts (especially pronounced in Texture mode)
* Using Repitch mode and warping for a lo-fi, tape-manipulation effect

There's no single "correct" result — use your ears and explore.

=== Troubleshooting ===
'''Audio sounds glitchy or robotic in a way I don't like''' Try switching warp modes. Complex or Texture usually handles non-musical material better than Beats or Tones.

'''Can't see the warp marker bar:''' Make sure Warp is toggled on in the Sample tab. The marker bar only appears when warping is enabled.

'''Markers aren't snapping where I want:''' Hold ''Cmd'' (Mac) or ''Ctrl'' (PC) while dragging to move a marker without grid snapping.

=== Further Reading ===
* [https://www.ableton.com/en/manual/audio-clips-tempo-and-warping/ Ableton Reference Manual – Warping]

Warping Audio Loops in Ableton

2026-04-17T00:39:43Z

Kamenb: Created page with "Category:Ableton Live '''Warping a Field Recording in Ableton's Arrangement View''' Field recordings don't have a built-in BPM or musical grid. Ableton's audio warping al..."

[[Category:Ableton Live]]
'''Warping a Field Recording in Ableton's Arrangement View'''

Field recordings don't have a built-in BPM or musical grid. Ableton's audio warping allows you to stretch, compress, and anchor specific moments in your recording so they align with your session's timeline. Rather than forcing the recording to "lock to a beat," warping is a way to sculpt the timing of your material.

=== Prerequisites ===
* A field recording imported into your Ableton project
* Your session tempo set (top-left of the Ableton window)

=== Step 1: Place the Recording in the Arrangement ===
Drag your audio file from the browser into an audio track in the Arrangement View ''(Tab to switch from Session View if needed).''

=== Step 2: Open the Clip Detail View ===
Double-click the clip to open its settings at the bottom of the screen. Select the '''Sample''' tab (waveform icon).

=== Step 3: Enable Warping ===
If not on already, turn the '''Warp''' toggle on. Ableton may try to detect a BPM automatically — for field recordings, this guess is usually wrong and can be ignored. The important thing is that Warp is enabled so you can place warp markers manually.

=== Step 4: Choose a Warp Mode ===
{| class="wikitable"
|-
! Mode !! Best For
|-
| '''Texture''' || Ambient, environmental, or noisy recordings
|-
| '''Tones''' || Recordings with a clear sustained pitch (humming wires, singing, wind)
|-
| '''Complex''' || Voice, layered sounds, or anything with a lot going on
|-
| '''Repitch''' || Skips time-stretching entirely — stretching changes pitch instead (tape-like effect)
|}

'''Beats''' mode is not recommended for field recordings unless you've deliberately captured something rhythmic (e.g., footsteps, machinery).

=== Step 5: Place Warp Markers ===
Warp markers are anchor points that pin a specific moment in your audio to a specific point on Ableton's timeline. By placing multiple markers, you can stretch or compress sections of the recording independently.

'''Insert Warp Markers:'''
Ableton can place warp markers automatically based on detected transients (sudden changes in the audio, like a clap or footstep). To use this, right-click the clip in the Arrangement View and select '''Insert Warp Markers'''. This gives you a set of starting markers that you can then drag, add to, or delete as needed.
''Tip: For field recordings with irregular transients — wind, crowds, ambient texture — the auto-detected markers may not land in meaningful places. Use this as a starting point, not a final result.''

'''To add a warp marker:'''
# In the Sample tab, you'll see the waveform of your clip with a timeline above it.
# Double-click anywhere on the yellow warp marker bar (just above the waveform) to create a marker at that position.
# Click and drag a marker left or right to pull that moment earlier or later in time.

'''To delete a warp marker:'''
Double-click an existing marker to remove it.

=== Step 6: Experiment ===
Warping field recordings is as much a creative tool as a technical one. Try:
* Placing many closely-spaced markers to create fine-grained control over a section
* Dragging a marker drastically to create stretching artifacts (especially pronounced in Texture mode)
* Using Repitch mode and warping for a lo-fi, tape-manipulation effect

There's no single "correct" result — use your ears and explore.

=== Troubleshooting ===
'''Audio sounds glitchy or robotic in a way I don't like''' Try switching warp modes. Complex or Texture usually handles non-musical material better than Beats or Tones.

'''Can't see the warp marker bar:''' Make sure Warp is toggled on in the Sample tab. The marker bar only appears when warping is enabled.

'''Markers aren't snapping where I want:''' Hold ''Cmd'' (Mac) or ''Ctrl'' (PC) while dragging to move a marker without grid snapping.

=== Further Reading ===
* [https://www.ableton.com/en/manual/audio-clips-tempo-and-warping/ Ableton Reference Manual – Warping]

Mackie Documentation

2026-04-16T21:19:57Z

Kamenb: /* Output Section */

=== This document explains the functionality of the Mackie Mixers found in Comm 343 and 344. ===
= Mackie Channel Strip =
<gallery>
Mackie_Channel_23.pdf
</gallery>This document shows the physical layout of a single channel strip on a Mackie analog mixer, with each control labeled by function. Unlike the signal flow diagram below (which shows ''how'' audio moves through the channel electronically), this reference shows ''where'' each control lives on the face of the mixer — reading top-to-bottom the way your eyes and hands travel down the channel during setup and mixing.

== Top to Bottom: The Channel Strip ==

=== GAIN / TRIM ===
At the very top of the channel is the '''gain knob''' (labeled "MIC GAIN"), used to set the input level. The range runs from +15 dB to -45 dB (with a typical unity mark near the middle). This is the first thing you set when plugging in a source — too low and you'll have a weak, noisy signal; too high and the channel will distort. (See LEVEL LEDs for additional info)

=== AUX SENDS ===
Below the gain are the '''aux send knobs''', used to route a portion of the channel's signal to the mixer's auxiliary buses (for monitor mixes, effects, etc.). Each knob ranges from −∞ (off) to +15 dB with a unity (U) mark. The layout shows:
* '''Aux 1 and Aux 2''' — two dedicated sends
* '''Aux 3 / 5''' and '''Aux 4 / 6''' — shared knobs that switch function based on the '''5/6 SHIFT''' button below them
* A '''PRE''' switch determines whether the send is taken pre- or post-fader

=== EQ SECTION ===
The '''3-band EQ''' sits in the middle of the strip:
* '''HI''' — high-frequency shelf at 12 kHz, ±15 dB
* '''MID''' — sweepable mid with a frequency knob (100 Hz – 8 kHz range, typically centered around 800 Hz – 2 kHz) and a ±15 dB gain knob
* '''LOW''' — low-frequency shelf at 80 Hz, ±15 dB
* '''LOW CUT''' — a high-pass filter button (75 Hz, 18 dB/octave) to remove rumble

=== PAN ===
Below the EQ, the '''pan knob''' places the channel in the stereo field, sweeping from L to R.

=== MUTE ===
The '''MUTE''' button silences the channel. The number (here "1") indicates the channel number.

=== LEVEL LEDS ===
Two small LEDs next to the fader show signal activity:
* '''OL''' (overload) — lights when the channel is clipping
* '''−20''' — lights when signal is present at a healthy level
These help you set proper gain and watch for overloads during performance.

=== SOLO ===
The '''SOLO''' button isolates this channel for monitoring — lets you hear just this channel in your headphones or control room output without affecting the main mix.

=== ASSIGN Buttons ===
Three routing buttons determine where the post-fader signal is sent:
* '''1–2''' — assigns to subgroup bus 1/2
* '''3–4''' — assigns to subgroup bus 3/4
* '''L–R''' — assigns to the main stereo output
A channel can be assigned to any combination of these simultaneously.

=== FADER ===
At the bottom, the '''channel fader''' sets the overall level of the channel in the mix, running from −∞ (off) up through unity and into positive gain.

== Summary ==
Reading the strip top to bottom mirrors a typical workflow: set '''gain''' first, dial in '''aux sends''' for monitors/effects, shape tone with the '''EQ''', place the signal with '''pan''', use '''mute''' and '''solo''' as needed, watch the '''level LEDs''', pick your '''assigned outputs''', then ride the '''fader''' for the mix.

= Mackie Channel Signal Flow =
<gallery>
Mackie_Channel_Flow_w_Direct.pdf
</gallery>This document is a block diagram showing the signal path through a single channel on a Mackie analog mixer — tracing how audio travels from the input jack through the channel's processing stages and out to the various destinations (main stereo outs, sub groups, direct out, and aux sends).

== The Main Signal Path ==
Audio flows left-to-right through the channel strip in this order:
# '''INPUT''' — the physical jack where your source (mic, instrument, line-level device) enters the channel
# '''TRIM''' — input gain stage that sets the proper signal level for the channel
# '''INSERT''' — send/return point for patching in external processing (compressors, effects, etc.)
# '''LOW CUT''' — high-pass filter to remove low-frequency rumble
# '''EQ''' — tone-shaping equalizer
# '''MUTE''' — a switch that silences the channel when engaged
# '''FADER''' — the channel volume control
# '''PAN''' — places the signal in the stereo field (left-to-right)
# '''ASSIGN''' — routes the post-fader signal to the chosen stereo output bus

== Output Destinations ==
After the assign stage, the signal can be sent to any of the '''Stereo Outs''':
* '''L/R''' — the main mix output
* '''1/2''' — subgroup bus 1/2
* '''3/4''' — subgroup bus 3/4
A channel can be assigned to any combination of these buses simultaneously.

== The Direct Out ==
A '''Direct Out''' tap is taken immediately after the fader (post-fader, post-mute), providing a '''mono''' feed of that single channel. This is useful for multitrack recording — each channel can be sent to its own recorder input independently of the main mix.

== Aux Sends and the Pre/Post Switch ==
The channel feeds two auxiliary sends, '''AUX 1''' and '''AUX 2''', which are commonly used for monitor mixes or effects sends. A '''PRE SWITCH''' determines where the aux send taps the signal from:
* '''"PRE" signal''' — taken ''before'' the fader and mute (after EQ). The aux send level is independent of the channel fader — useful for stage monitor mixes, where the performer's monitor level should stay constant even when the front-of-house fader moves.
* '''"POST" signal''' — taken ''after'' the fader and mute. The aux send level follows the fader — useful for effects sends (reverb, delay), so the effect level tracks the channel's mix level.
Each aux send has its own level knob (shown as AUX 1 and AUX 2 with their rotary controls) before going to the aux output buses.

=== Summary of Channel Signal Flow ===
A signal entering the channel is gained, filtered, EQ'd, muted (or not), and faded — then it splits three ways: to the '''assign matrix''' for the main stereo/subgroup mix, to the '''direct out''' for isolated recording, and to the '''aux sends''' (pre- or post-fader) for monitors and effects.

== Output Section ==
<gallery>
Mackie_Output_Section.pdf
</gallery>

The output section sits to the right of the channel strips and contains the faders that control the mixer's main output buses — the final stage where everything gets combined and sent out of the mixer.

=== Sub Outs 1–4 ===
Four dedicated '''subgroup faders''' (labeled 1, 2, 3, and 4), each with the same scale as a channel fader (−∞ to +10 dB, with unity marked as "U"). Subgroups are intermediate mix buses: instead of sending every individual channel straight to the main mix, you can route related channels (all the drums, all the backing vocals, etc.) to a subgroup fader, then control that whole group with a single fader.

=== Assign to Main Mix ===
Above each sub fader is a pair of buttons labeled '''LEFT''' and '''RIGHT''' under the heading "ASSIGN TO MAIN MIX". These determine whether each subgroup gets routed into the main stereo mix, and on which side:
* Pressing '''LEFT''' sends that subgroup to the left side of the main mix
* Pressing '''RIGHT''' sends it to the right side
* Pressing '''both''' feeds the subgroup to both sides (centered in the main mix)
* Pressing '''neither''' keeps the subgroup isolated — it goes out the Sub Out jacks on the back but does ''not'' get folded into the main mix (useful for independent recording feeds)

=== Main Mix L/R ===
To the right of the sub faders is the '''Main Mix fader''', which controls the overall level of the stereo main output (the L/R bus going to your speakers, PA, or recording device). A headphone jack sits above it for monitoring.

== Control Room Section ==
<gallery>
ControlRoomOut.pdf
</gallery>The control room section manages what you hear in your monitoring environment — your studio speakers and headphones — '''independently of the main mix''' going out to the audience or recorder.

=== Source Assign ===
A column of four buttons labeled '''CTL ROOM SOURCE''' determines ''what'' gets sent to the control room output (and headphones):
* '''TAPE''' — monitors the tape input (playback)
* '''SUBS 1–2''' — monitors subgroups 1 and 2
* '''SUBS 3–4''' — monitors subgroups 3 and 4
* '''MAIN MIX''' — monitors the main stereo mix

=== Output Level ===
The '''CTL ROOM/PHONES''' knob at the top sets the monitor volume — how loud the control room speakers and headphones are. This is independent of the main mix fader, so you can turn your monitors up or down without affecting what the audience or recorder hears.

=== CTL Room Meter ===
A pair of LED ladders ('''LEFT''' and '''RIGHT''') show the levels being sent to the control room output, calibrated so 0 dB on the meter equals 0 dBu at the output. Useful for confirming signal presence and watching for clipping while you monitor.

=== The Middle Stuff (Ignore) ===
The center area contains '''TAPE IN level''', '''TAPE TO MAIN MIX''', '''SOLO level''', and '''MODE (Normal AFL / Level Set PFL)''' controls — these handle tape playback routing and solo bus behavior. For basic use you can safely ignore them; they only matter in specific workflows (returning a tape playback to the mix, or using PFL-style level-setting solo).

The full manual can be found here : https://mackie.com/img/file_resources/1604VLZ4_OM.pdf?srsltid=AfmBOooQIV6qsrSQv7ombVTk1UHzyV5RzL05UppyY_WpMn_Bp9PJ5eIj
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:Music Technology Labs]]

Mackie Documentation

2026-04-16T21:18:44Z

Kamenb:

=== This document explains the functionality of the Mackie Mixers found in Comm 343 and 344. ===
= Mackie Channel Strip =
<gallery>
Mackie_Channel_23.pdf
</gallery>This document shows the physical layout of a single channel strip on a Mackie analog mixer, with each control labeled by function. Unlike the signal flow diagram below (which shows ''how'' audio moves through the channel electronically), this reference shows ''where'' each control lives on the face of the mixer — reading top-to-bottom the way your eyes and hands travel down the channel during setup and mixing.

== Top to Bottom: The Channel Strip ==

=== GAIN / TRIM ===
At the very top of the channel is the '''gain knob''' (labeled "MIC GAIN"), used to set the input level. The range runs from +15 dB to -45 dB (with a typical unity mark near the middle). This is the first thing you set when plugging in a source — too low and you'll have a weak, noisy signal; too high and the channel will distort. (See LEVEL LEDs for additional info)

=== AUX SENDS ===
Below the gain are the '''aux send knobs''', used to route a portion of the channel's signal to the mixer's auxiliary buses (for monitor mixes, effects, etc.). Each knob ranges from −∞ (off) to +15 dB with a unity (U) mark. The layout shows:
* '''Aux 1 and Aux 2''' — two dedicated sends
* '''Aux 3 / 5''' and '''Aux 4 / 6''' — shared knobs that switch function based on the '''5/6 SHIFT''' button below them
* A '''PRE''' switch determines whether the send is taken pre- or post-fader

=== EQ SECTION ===
The '''3-band EQ''' sits in the middle of the strip:
* '''HI''' — high-frequency shelf at 12 kHz, ±15 dB
* '''MID''' — sweepable mid with a frequency knob (100 Hz – 8 kHz range, typically centered around 800 Hz – 2 kHz) and a ±15 dB gain knob
* '''LOW''' — low-frequency shelf at 80 Hz, ±15 dB
* '''LOW CUT''' — a high-pass filter button (75 Hz, 18 dB/octave) to remove rumble

=== PAN ===
Below the EQ, the '''pan knob''' places the channel in the stereo field, sweeping from L to R.

=== MUTE ===
The '''MUTE''' button silences the channel. The number (here "1") indicates the channel number.

=== LEVEL LEDS ===
Two small LEDs next to the fader show signal activity:
* '''OL''' (overload) — lights when the channel is clipping
* '''−20''' — lights when signal is present at a healthy level
These help you set proper gain and watch for overloads during performance.

=== SOLO ===
The '''SOLO''' button isolates this channel for monitoring — lets you hear just this channel in your headphones or control room output without affecting the main mix.

=== ASSIGN Buttons ===
Three routing buttons determine where the post-fader signal is sent:
* '''1–2''' — assigns to subgroup bus 1/2
* '''3–4''' — assigns to subgroup bus 3/4
* '''L–R''' — assigns to the main stereo output
A channel can be assigned to any combination of these simultaneously.

=== FADER ===
At the bottom, the '''channel fader''' sets the overall level of the channel in the mix, running from −∞ (off) up through unity and into positive gain.

== Summary ==
Reading the strip top to bottom mirrors a typical workflow: set '''gain''' first, dial in '''aux sends''' for monitors/effects, shape tone with the '''EQ''', place the signal with '''pan''', use '''mute''' and '''solo''' as needed, watch the '''level LEDs''', pick your '''assigned outputs''', then ride the '''fader''' for the mix.

= Mackie Channel Signal Flow =
<gallery>
Mackie_Channel_Flow_w_Direct.pdf
</gallery>This document is a block diagram showing the signal path through a single channel on a Mackie analog mixer — tracing how audio travels from the input jack through the channel's processing stages and out to the various destinations (main stereo outs, sub groups, direct out, and aux sends).

== The Main Signal Path ==
Audio flows left-to-right through the channel strip in this order:
# '''INPUT''' — the physical jack where your source (mic, instrument, line-level device) enters the channel
# '''TRIM''' — input gain stage that sets the proper signal level for the channel
# '''INSERT''' — send/return point for patching in external processing (compressors, effects, etc.)
# '''LOW CUT''' — high-pass filter to remove low-frequency rumble
# '''EQ''' — tone-shaping equalizer
# '''MUTE''' — a switch that silences the channel when engaged
# '''FADER''' — the channel volume control
# '''PAN''' — places the signal in the stereo field (left-to-right)
# '''ASSIGN''' — routes the post-fader signal to the chosen stereo output bus

== Output Destinations ==
After the assign stage, the signal can be sent to any of the '''Stereo Outs''':
* '''L/R''' — the main mix output
* '''1/2''' — subgroup bus 1/2
* '''3/4''' — subgroup bus 3/4
A channel can be assigned to any combination of these buses simultaneously.

== The Direct Out ==
A '''Direct Out''' tap is taken immediately after the fader (post-fader, post-mute), providing a '''mono''' feed of that single channel. This is useful for multitrack recording — each channel can be sent to its own recorder input independently of the main mix.

== Aux Sends and the Pre/Post Switch ==
The channel feeds two auxiliary sends, '''AUX 1''' and '''AUX 2''', which are commonly used for monitor mixes or effects sends. A '''PRE SWITCH''' determines where the aux send taps the signal from:
* '''"PRE" signal''' — taken ''before'' the fader and mute (after EQ). The aux send level is independent of the channel fader — useful for stage monitor mixes, where the performer's monitor level should stay constant even when the front-of-house fader moves.
* '''"POST" signal''' — taken ''after'' the fader and mute. The aux send level follows the fader — useful for effects sends (reverb, delay), so the effect level tracks the channel's mix level.
Each aux send has its own level knob (shown as AUX 1 and AUX 2 with their rotary controls) before going to the aux output buses.

=== Summary of Channel Signal Flow ===
A signal entering the channel is gained, filtered, EQ'd, muted (or not), and faded — then it splits three ways: to the '''assign matrix''' for the main stereo/subgroup mix, to the '''direct out''' for isolated recording, and to the '''aux sends''' (pre- or post-fader) for monitors and effects.

== Output Section ==
<gallery>
Mackie_Output_Section.pdf
</gallery>The output section sits to the right of the channel strips and contains the faders that control the mixer's main output buses — the final stage where everything gets combined and sent out of the mixer.

=== Sub Outs 1–4 ===
Four dedicated '''subgroup faders''' (labeled 1, 2, 3, and 4), each with the same scale as a channel fader (−∞ to +10 dB, with unity marked as "U"). Subgroups are intermediate mix buses: instead of sending every individual channel straight to the main mix, you can route related channels (all the drums, all the backing vocals, etc.) to a subgroup fader, then control that whole group with a single fader.

=== Assign to Main Mix ===
Above each sub fader is a pair of buttons labeled '''LEFT''' and '''RIGHT''' under the heading "ASSIGN TO MAIN MIX". These determine whether each subgroup gets routed into the main stereo mix, and on which side:
* Pressing '''LEFT''' sends that subgroup to the left side of the main mix
* Pressing '''RIGHT''' sends it to the right side
* Pressing '''both''' feeds the subgroup to both sides (centered in the main mix)
* Pressing '''neither''' keeps the subgroup isolated — it goes out the Sub Out jacks on the back but does ''not'' get folded into the main mix (useful for independent recording feeds)

=== Main Mix L/R ===
To the right of the sub faders is the '''Main Mix fader''', which controls the overall level of the stereo main output (the L/R bus going to your speakers, PA, or recording device). A headphone jack sits above it for monitoring.

== Control Room Section ==
<gallery>
ControlRoomOut.pdf
</gallery>The control room section manages what you hear in your monitoring environment — your studio speakers and headphones — '''independently of the main mix''' going out to the audience or recorder.

=== Source Assign ===
A column of four buttons labeled '''CTL ROOM SOURCE''' determines ''what'' gets sent to the control room output (and headphones):
* '''TAPE''' — monitors the tape input (playback)
* '''SUBS 1–2''' — monitors subgroups 1 and 2
* '''SUBS 3–4''' — monitors subgroups 3 and 4
* '''MAIN MIX''' — monitors the main stereo mix

=== Output Level ===
The '''CTL ROOM/PHONES''' knob at the top sets the monitor volume — how loud the control room speakers and headphones are. This is independent of the main mix fader, so you can turn your monitors up or down without affecting what the audience or recorder hears.

=== CTL Room Meter ===
A pair of LED ladders ('''LEFT''' and '''RIGHT''') show the levels being sent to the control room output, calibrated so 0 dB on the meter equals 0 dBu at the output. Useful for confirming signal presence and watching for clipping while you monitor.

=== The Middle Stuff (Ignore) ===
The center area contains '''TAPE IN level''', '''TAPE TO MAIN MIX''', '''SOLO level''', and '''MODE (Normal AFL / Level Set PFL)''' controls — these handle tape playback routing and solo bus behavior. For basic use you can safely ignore them; they only matter in specific workflows (returning a tape playback to the mix, or using PFL-style level-setting solo).

The full manual can be found here : https://mackie.com/img/file_resources/1604VLZ4_OM.pdf?srsltid=AfmBOooQIV6qsrSQv7ombVTk1UHzyV5RzL05UppyY_WpMn_Bp9PJ5eIj
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:Music Technology Labs]]

Mackie Documentation

2026-04-16T21:16:58Z

Kamenb: Added text descriptions of Control Room and Output Sections

=== Full Manual ===
<gallery>
MackieManual.pdf
</gallery>

= Mackie Channel Strip =
<gallery>
Mackie_Channel_23.pdf
</gallery>This document shows the physical layout of a single channel strip on a Mackie analog mixer, with each control labeled by function. Unlike the signal flow diagram below (which shows ''how'' audio moves through the channel electronically), this reference shows ''where'' each control lives on the face of the mixer — reading top-to-bottom the way your eyes and hands travel down the channel during setup and mixing.

== Top to Bottom: The Channel Strip ==

=== GAIN / TRIM ===
At the very top of the channel is the '''gain knob''' (labeled "MIC GAIN"), used to set the input level. The range runs from +15 dB to -45 dB (with a typical unity mark near the middle). This is the first thing you set when plugging in a source — too low and you'll have a weak, noisy signal; too high and the channel will distort. (See LEVEL LEDs for additional info)

=== AUX SENDS ===
Below the gain are the '''aux send knobs''', used to route a portion of the channel's signal to the mixer's auxiliary buses (for monitor mixes, effects, etc.). Each knob ranges from −∞ (off) to +15 dB with a unity (U) mark. The layout shows:
* '''Aux 1 and Aux 2''' — two dedicated sends
* '''Aux 3 / 5''' and '''Aux 4 / 6''' — shared knobs that switch function based on the '''5/6 SHIFT''' button below them
* A '''PRE''' switch determines whether the send is taken pre- or post-fader

=== EQ SECTION ===
The '''3-band EQ''' sits in the middle of the strip:
* '''HI''' — high-frequency shelf at 12 kHz, ±15 dB
* '''MID''' — sweepable mid with a frequency knob (100 Hz – 8 kHz range, typically centered around 800 Hz – 2 kHz) and a ±15 dB gain knob
* '''LOW''' — low-frequency shelf at 80 Hz, ±15 dB
* '''LOW CUT''' — a high-pass filter button (75 Hz, 18 dB/octave) to remove rumble

=== PAN ===
Below the EQ, the '''pan knob''' places the channel in the stereo field, sweeping from L to R.

=== MUTE ===
The '''MUTE''' button silences the channel. The number (here "1") indicates the channel number.

=== LEVEL LEDS ===
Two small LEDs next to the fader show signal activity:
* '''OL''' (overload) — lights when the channel is clipping
* '''−20''' — lights when signal is present at a healthy level
These help you set proper gain and watch for overloads during performance.

=== SOLO ===
The '''SOLO''' button isolates this channel for monitoring — lets you hear just this channel in your headphones or control room output without affecting the main mix.

=== ASSIGN Buttons ===
Three routing buttons determine where the post-fader signal is sent:
* '''1–2''' — assigns to subgroup bus 1/2
* '''3–4''' — assigns to subgroup bus 3/4
* '''L–R''' — assigns to the main stereo output
A channel can be assigned to any combination of these simultaneously.

=== FADER ===
At the bottom, the '''channel fader''' sets the overall level of the channel in the mix, running from −∞ (off) up through unity and into positive gain.

== Summary ==
Reading the strip top to bottom mirrors a typical workflow: set '''gain''' first, dial in '''aux sends''' for monitors/effects, shape tone with the '''EQ''', place the signal with '''pan''', use '''mute''' and '''solo''' as needed, watch the '''level LEDs''', pick your '''assigned outputs''', then ride the '''fader''' for the mix.

= Mackie Channel Signal Flow =
<gallery>
Mackie_Channel_Flow_w_Direct.pdf
</gallery>This document is a block diagram showing the signal path through a single channel on a Mackie analog mixer — tracing how audio travels from the input jack through the channel's processing stages and out to the various destinations (main stereo outs, sub groups, direct out, and aux sends).

== The Main Signal Path ==
Audio flows left-to-right through the channel strip in this order:
# '''INPUT''' — the physical jack where your source (mic, instrument, line-level device) enters the channel
# '''TRIM''' — input gain stage that sets the proper signal level for the channel
# '''INSERT''' — send/return point for patching in external processing (compressors, effects, etc.)
# '''LOW CUT''' — high-pass filter to remove low-frequency rumble
# '''EQ''' — tone-shaping equalizer
# '''MUTE''' — a switch that silences the channel when engaged
# '''FADER''' — the channel volume control
# '''PAN''' — places the signal in the stereo field (left-to-right)
# '''ASSIGN''' — routes the post-fader signal to the chosen stereo output bus

== Output Destinations ==
After the assign stage, the signal can be sent to any of the '''Stereo Outs''':
* '''L/R''' — the main mix output
* '''1/2''' — subgroup bus 1/2
* '''3/4''' — subgroup bus 3/4
A channel can be assigned to any combination of these buses simultaneously.

== The Direct Out ==
A '''Direct Out''' tap is taken immediately after the fader (post-fader, post-mute), providing a '''mono''' feed of that single channel. This is useful for multitrack recording — each channel can be sent to its own recorder input independently of the main mix.

== Aux Sends and the Pre/Post Switch ==
The channel feeds two auxiliary sends, '''AUX 1''' and '''AUX 2''', which are commonly used for monitor mixes or effects sends. A '''PRE SWITCH''' determines where the aux send taps the signal from:
* '''"PRE" signal''' — taken ''before'' the fader and mute (after EQ). The aux send level is independent of the channel fader — useful for stage monitor mixes, where the performer's monitor level should stay constant even when the front-of-house fader moves.
* '''"POST" signal''' — taken ''after'' the fader and mute. The aux send level follows the fader — useful for effects sends (reverb, delay), so the effect level tracks the channel's mix level.
Each aux send has its own level knob (shown as AUX 1 and AUX 2 with their rotary controls) before going to the aux output buses.

=== Summary of Channel Signal Flow ===
A signal entering the channel is gained, filtered, EQ'd, muted (or not), and faded — then it splits three ways: to the '''assign matrix''' for the main stereo/subgroup mix, to the '''direct out''' for isolated recording, and to the '''aux sends''' (pre- or post-fader) for monitors and effects.

== Output Section ==
<gallery>
Mackie_Output_Section.pdf
</gallery>The output section sits to the right of the channel strips and contains the faders that control the mixer's main output buses — the final stage where everything gets combined and sent out of the mixer.

=== Sub Outs 1–4 ===
Four dedicated '''subgroup faders''' (labeled 1, 2, 3, and 4), each with the same scale as a channel fader (−∞ to +10 dB, with unity marked as "U"). Subgroups are intermediate mix buses: instead of sending every individual channel straight to the main mix, you can route related channels (all the drums, all the backing vocals, etc.) to a subgroup fader, then control that whole group with a single fader.

=== Assign to Main Mix ===
Above each sub fader is a pair of buttons labeled '''LEFT''' and '''RIGHT''' under the heading "ASSIGN TO MAIN MIX". These determine whether each subgroup gets routed into the main stereo mix, and on which side:
* Pressing '''LEFT''' sends that subgroup to the left side of the main mix
* Pressing '''RIGHT''' sends it to the right side
* Pressing '''both''' feeds the subgroup to both sides (centered in the main mix)
* Pressing '''neither''' keeps the subgroup isolated — it goes out the Sub Out jacks on the back but does ''not'' get folded into the main mix (useful for independent recording feeds)

=== Main Mix L/R ===
To the right of the sub faders is the '''Main Mix fader''', which controls the overall level of the stereo main output (the L/R bus going to your speakers, PA, or recording device). A headphone jack sits above it for monitoring.

== Control Room Section ==
<gallery>
ControlRoomOut.pdf
</gallery>The control room section manages what you hear in your monitoring environment — your studio speakers and headphones — '''independently of the main mix''' going out to the audience or recorder.

=== Source Assign ===
A column of four buttons labeled '''CTL ROOM SOURCE''' determines ''what'' gets sent to the control room output (and headphones):
* '''TAPE''' — monitors the tape input (playback)
* '''SUBS 1–2''' — monitors subgroups 1 and 2
* '''SUBS 3–4''' — monitors subgroups 3 and 4
* '''MAIN MIX''' — monitors the main stereo mix

=== Output Level ===
The '''CTL ROOM/PHONES''' knob at the top sets the monitor volume — how loud the control room speakers and headphones are. This is independent of the main mix fader, so you can turn your monitors up or down without affecting what the audience or recorder hears.

=== CTL Room Meter ===
A pair of LED ladders ('''LEFT''' and '''RIGHT''') show the levels being sent to the control room output, calibrated so 0 dB on the meter equals 0 dBu at the output. Useful for confirming signal presence and watching for clipping while you monitor.

=== The Middle Stuff (Ignore) ===
The center area contains '''TAPE IN level''', '''TAPE TO MAIN MIX''', '''SOLO level''', and '''MODE (Normal AFL / Level Set PFL)''' controls — these handle tape playback routing and solo bus behavior. For basic use you can safely ignore them; they only matter in specific workflows (returning a tape playback to the mix, or using PFL-style level-setting solo).
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:Music Technology Labs]]

Mackie Documentation

2026-04-16T21:11:25Z

Kamenb: /* Summary */

Mackie Documentation

2026-04-16T21:10:44Z

Kamenb: Text description of Mackie Channel Layout

Mackie Documentation

2026-04-16T21:08:24Z

Kamenb: /* Overview */

=== Full Manual ===
<gallery>
MackieManual.pdf
</gallery>

=== Channel Print-Out ===
<gallery>
Mackie_Channel_23.pdf
</gallery>

= Mackie Channel Signal Flow =
<gallery>
Mackie_Channel_Flow_w_Direct.pdf
</gallery>This document is a block diagram showing the signal path through a single channel on a Mackie analog mixer — tracing how audio travels from the input jack through the channel's processing stages and out to the various destinations (main stereo outs, sub groups, direct out, and aux sends).

== The Main Signal Path ==
Audio flows left-to-right through the channel strip in this order:
# '''INPUT''' — the physical jack where your source (mic, instrument, line-level device) enters the channel
# '''TRIM''' — input gain stage that sets the proper signal level for the channel
# '''INSERT''' — send/return point for patching in external processing (compressors, effects, etc.)
# '''LOW CUT''' — high-pass filter to remove low-frequency rumble
# '''EQ''' — tone-shaping equalizer
# '''MUTE''' — a switch that silences the channel when engaged
# '''FADER''' — the channel volume control
# '''PAN''' — places the signal in the stereo field (left-to-right)
# '''ASSIGN''' — routes the post-fader signal to the chosen stereo output bus

== Output Destinations ==
After the assign stage, the signal can be sent to any of the '''Stereo Outs''':
* '''L/R''' — the main mix output
* '''1/2''' — subgroup bus 1/2
* '''3/4''' — subgroup bus 3/4
A channel can be assigned to any combination of these buses simultaneously.

== The Direct Out ==
A '''Direct Out''' tap is taken immediately after the fader (post-fader, post-mute), providing a '''mono''' feed of that single channel. This is useful for multitrack recording — each channel can be sent to its own recorder input independently of the main mix.

== Aux Sends and the Pre/Post Switch ==
The channel feeds two auxiliary sends, '''AUX 1''' and '''AUX 2''', which are commonly used for monitor mixes or effects sends. A '''PRE SWITCH''' determines where the aux send taps the signal from:
* '''"PRE" signal''' — taken ''before'' the fader and mute (after EQ). The aux send level is independent of the channel fader — useful for stage monitor mixes, where the performer's monitor level should stay constant even when the front-of-house fader moves.
* '''"POST" signal''' — taken ''after'' the fader and mute. The aux send level follows the fader — useful for effects sends (reverb, delay), so the effect level tracks the channel's mix level.
Each aux send has its own level knob (shown as AUX 1 and AUX 2 with their rotary controls) before going to the aux output buses.

== Summary ==
A signal entering the channel is gained, filtered, EQ'd, muted (or not), and faded — then it splits three ways: to the '''assign matrix''' for the main stereo/subgroup mix, to the '''direct out''' for isolated recording, and to the '''aux sends''' (pre- or post-fader) for monitors and effects.

== Control Room Out ==
<gallery>
ControlRoomOut.pdf
</gallery>

== Mackie Output Section ==
<gallery>
Mackie_Output_Section.pdf
</gallery>

[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:Music Technology Labs]]

Mackie Documentation

2026-04-16T21:07:19Z

Kamenb: Added text description of Mackie Channel

=== Full Manual ===
<gallery>
MackieManual.pdf
</gallery>

=== Channel Print-Out ===
<gallery>
Mackie_Channel_23.pdf
</gallery>

= Mackie Channel Signal Flow =
<gallery>
Mackie_Channel_Flow_w_Direct.pdf
</gallery>

== Overview ==
This document is a block diagram showing the signal path through a single channel on a Mackie analog mixer — tracing how audio travels from the input jack through the channel's processing stages and out to the various destinations (main stereo outs, sub groups, direct out, and aux sends).

== The Main Signal Path ==
Audio flows left-to-right through the channel strip in this order:
# '''INPUT''' — the physical jack where your source (mic, instrument, line-level device) enters the channel
# '''TRIM''' — input gain stage that sets the proper signal level for the channel
# '''INSERT''' — send/return point for patching in external processing (compressors, effects, etc.)
# '''LOW CUT''' — high-pass filter to remove low-frequency rumble
# '''EQ''' — tone-shaping equalizer
# '''MUTE''' — a switch that silences the channel when engaged
# '''FADER''' — the channel volume control
# '''PAN''' — places the signal in the stereo field (left-to-right)
# '''ASSIGN''' — routes the post-fader signal to the chosen stereo output bus

== Output Destinations ==
After the assign stage, the signal can be sent to any of the '''Stereo Outs''':
* '''L/R''' — the main mix output
* '''1/2''' — subgroup bus 1/2
* '''3/4''' — subgroup bus 3/4
A channel can be assigned to any combination of these buses simultaneously.

== The Direct Out ==
A '''Direct Out''' tap is taken immediately after the fader (post-fader, post-mute), providing a '''mono''' feed of that single channel. This is useful for multitrack recording — each channel can be sent to its own recorder input independently of the main mix.

== Aux Sends and the Pre/Post Switch ==
The channel feeds two auxiliary sends, '''AUX 1''' and '''AUX 2''', which are commonly used for monitor mixes or effects sends. A '''PRE SWITCH''' determines where the aux send taps the signal from:
* '''"PRE" signal''' — taken ''before'' the fader and mute (after EQ). The aux send level is independent of the channel fader — useful for stage monitor mixes, where the performer's monitor level should stay constant even when the front-of-house fader moves.
* '''"POST" signal''' — taken ''after'' the fader and mute. The aux send level follows the fader — useful for effects sends (reverb, delay), so the effect level tracks the channel's mix level.
Each aux send has its own level knob (shown as AUX 1 and AUX 2 with their rotary controls) before going to the aux output buses.

== Summary ==
A signal entering the channel is gained, filtered, EQ'd, muted (or not), and faded — then it splits three ways: to the '''assign matrix''' for the main stereo/subgroup mix, to the '''direct out''' for isolated recording, and to the '''aux sends''' (pre- or post-fader) for monitors and effects.

== Control Room Out ==
<gallery>
ControlRoomOut.pdf
</gallery>

== Mackie Output Section ==
<gallery>
Mackie_Output_Section.pdf
</gallery>

[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:Music Technology Labs]]

BeatStepPro MIDI to CV

2026-04-16T20:59:24Z

Kamenb:

= Connecting the BeatStep Pro to Ableton Live for MIDI-to-CV =

== Overview ==
The Arturia BeatStep Pro can act as a MIDI-to-CV converter, letting Ableton Live control analog gear (like Eurorack modules or vintage synths) through control voltage signals. This setup routes MIDI from Ableton into the BeatStep Pro, which then outputs pitch, gate, velocity, and drum triggers as CV through a custom patch box.

== Step 1: Choose the Correct Port ==
[[File:Ableton midi tracks.png|alt=A screenshot of three side-by-side MIDI track header strips from Ableton Live, showing the routing configuration needed to send MIDI from the DAW to the BeatStep Pro. Each track displays an identical set of controls: Track name/number row: Shows track identifiers "949", "1143", and "94" with colored activity indicators MIDI From: All three tracks set to "All Ins" and "All Channels" Monitor: "Auto" is selected (highlighted) on all three tracks, with "In" and "Off" as the unselected options MIDI To: All three tracks route to "Arturia BeatStepPro" Channel: The only differing setting — Track 1 is set to "Ch. 1", Track 2 to "Ch. 2", and Track 3 to "Ch. 10" This screenshot illustrates the channel-assignment pattern that drives Sequence 1, Sequence 2, and the drum gates on the BeatStep Pro respectively.|thumb]]

When setting MIDI output in Ableton, select the port labeled '''Arturia BeatStepPro''' — ''not'' the editor port. The editor port is reserved for Arturia's MIDI Control Center software and will not pass notes to the CV outputs.

== Step 2: Set Up MIDI Tracks in Ableton ==
You can set up '''up to three''' MIDI tracks depending on what you need to control — only create tracks for the voices you actually want to use. Each track is configured the same way except for the output channel:
* '''MIDI From:''' All Ins, All Channels
* '''Monitor:''' Auto
* '''MIDI To:''' Arturia BeatStepPro
Assign each track you create to the appropriate MIDI channel:
* '''Channel 1''' — drives Sequence 1 Output (pitch, gate, and velocity CV outputs)
* '''Channel 2''' — drives Sequence 2 Output (pitch, gate, and velocity CV outputs)
* '''Channel 10''' — drives the eight drum gate outputs.
*
For example, if you only need melodic control over one synth, a single track on Channel 1 is enough. If you want drums plus one melodic voice, use two tracks (Channels 1 and 10), and so on.

== Step 3: Understand the Channel Mapping ==
The BeatStep Pro listens on specific MIDI channels for specific functions:
* '''Channel 1''' controls the first melodic sequencer voice. Notes you play or sequence on this track come out of the Sequence 1 pitch, gate, and velocity jacks.
* '''Channel 2''' does the same for the second melodic voice on the Sequence 2 jacks.
* '''Channel 10''' controls the drum section. MIDI notes '''36 through 43''' each trigger one of the eight drum gate outputs (note 36 → drum 1, note 37 → drum 2, and so on).

== Step 4: Patch the CV Outputs ==
[[File:Beatstep cv interface.jpg|alt=A color photograph of a custom brushed-metal enclosure sitting on a wooden surface, serving as the CV patch bay for the BeatStep Pro. The box is divided into three labeled sections by engraved or stamped lettering: Upper-left section — Sequencer outputs: Two rows of three 1/4" jacks. The top row is labeled "SEQUENCE 1" with individual jack labels "VELO", "GATE", and "PITCH" beneath them. The bottom row, labeled "SEQUENCE 2", mirrors the same three-jack layout for velocity, gate, and pitch output. Upper-right section — MIDI and clock: Two jacks stacked vertically. The top jack is labeled "IN" (MIDI input) and the bottom jack is labeled "OUT" under the heading "CLOCK", providing clock output to sync external gear. Lower section — Drum gates: A horizontal row of eight 1/4" jacks labeled "DRUM GATES", with each jack individually numbered 1 through 8 in a staggered two-row pattern. These provide individual gate triggers for the BeatStep Pro's eight drum tracks. The enclosure has a raw, DIY-fabricated aesthetic with hand-stamped lettering.|thumb]]

The custom interface box exposes the BeatStep Pro's CV signals on 1/4" jacks:
* '''Sequence 1 and 2:''' each have three jacks — VELO (velocity), GATE, and PITCH
* '''Drum Gates:''' eight numbered jacks (1–8) for individual drum triggers
* '''Clock Out:''' sends timing pulses to sync other gear
* '''IN:''' MIDI input
Patch these to the corresponding inputs on your analog synth or modular system.

== Step 5: Know the Voltage Standards ==
The CV signals follow common modular conventions:
* '''Pitch:''' 1 volt per octave (1v/oct) — the standard for most Eurorack and vintage synths
* '''Gate:''' 0v when a note is off, 12v when a note is on — a relatively hot gate signal, compatible with most modular gear

== Putting It All Together ==
Once your Ableton tracks are routed to the appropriate channels on the BeatStepPro port, you can sequence melodic or rhythmic parts in Ableton and use them to control the modular synthesizer or other gear that accepts CV or Gate voltages.

The linked PDF diagrams the instructions from this article. <gallery>
BeatStepPro_MIDI_to_CV.pdf
</gallery>
[[Category:Music Technology Labs]]
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:MTL Com 346]]
[[Category:MTL Com 347]]

BeatStepPro MIDI to CV

2026-04-16T20:49:41Z

Kamenb:

<gallery>
BeatStepPro_MIDI_to_CV.pdf
</gallery>

= Connecting the BeatStep Pro to Ableton Live for MIDI-to-CV =

== Overview ==
The Arturia BeatStep Pro can act as a MIDI-to-CV converter, letting Ableton Live control analog gear (like Eurorack modules or vintage synths) through control voltage signals. This setup routes MIDI from Ableton into the BeatStep Pro, which then outputs pitch, gate, velocity, and drum triggers as CV through a custom patch box.

== Step 1: Choose the Correct Port ==
[[File:Ableton midi tracks.png|alt=A screenshot of three side-by-side MIDI track header strips from Ableton Live, showing the routing configuration needed to send MIDI from the DAW to the BeatStep Pro. Each track displays an identical set of controls: Track name/number row: Shows track identifiers "949", "1143", and "94" with colored activity indicators MIDI From: All three tracks set to "All Ins" and "All Channels" Monitor: "Auto" is selected (highlighted) on all three tracks, with "In" and "Off" as the unselected options MIDI To: All three tracks route to "Arturia BeatStepPro" Channel: The only differing setting — Track 1 is set to "Ch. 1", Track 2 to "Ch. 2", and Track 3 to "Ch. 10" This screenshot illustrates the channel-assignment pattern that drives Sequence 1, Sequence 2, and the drum gates on the BeatStep Pro respectively.|thumb]]

When setting MIDI output in Ableton, select the port labeled '''Arturia BeatStepPro''' — ''not'' the editor port. The editor port is reserved for Arturia's MIDI Control Center software and will not pass notes to the CV outputs.

== Step 2: Set Up MIDI Tracks in Ableton ==
You can set up '''up to three''' MIDI tracks depending on what you need to control — only create tracks for the voices you actually want to use. Each track is configured the same way except for the output channel:
* '''MIDI From:''' All Ins, All Channels
* '''Monitor:''' Auto
* '''MIDI To:''' Arturia BeatStepPro
Assign each track you create to the appropriate MIDI channel:
* '''Channel 1''' — drives Sequence 1 Output (pitch, gate, and velocity CV outputs)
* '''Channel 2''' — drives Sequence 2 Output (pitch, gate, and velocity CV outputs)
* '''Channel 10''' — drives the eight drum gate outputs.
*
For example, if you only need melodic control over one synth, a single track on Channel 1 is enough. If you want drums plus one melodic voice, use two tracks (Channels 1 and 10), and so on.

== Step 3: Understand the Channel Mapping ==
The BeatStep Pro listens on specific MIDI channels for specific functions:
* '''Channel 1''' controls the first melodic sequencer voice. Notes you play or sequence on this track come out of the Sequence 1 pitch, gate, and velocity jacks.
* '''Channel 2''' does the same for the second melodic voice on the Sequence 2 jacks.
* '''Channel 10''' controls the drum section. MIDI notes '''36 through 43''' each trigger one of the eight drum gate outputs (note 36 → drum 1, note 37 → drum 2, and so on).

== Step 4: Patch the CV Outputs ==
[[File:Beatstep cv interface.jpg|alt=A color photograph of a custom brushed-metal enclosure sitting on a wooden surface, serving as the CV patch bay for the BeatStep Pro. The box is divided into three labeled sections by engraved or stamped lettering: Upper-left section — Sequencer outputs: Two rows of three 1/4" jacks. The top row is labeled "SEQUENCE 1" with individual jack labels "VELO", "GATE", and "PITCH" beneath them. The bottom row, labeled "SEQUENCE 2", mirrors the same three-jack layout for velocity, gate, and pitch output. Upper-right section — MIDI and clock: Two jacks stacked vertically. The top jack is labeled "IN" (MIDI input) and the bottom jack is labeled "OUT" under the heading "CLOCK", providing clock output to sync external gear. Lower section — Drum gates: A horizontal row of eight 1/4" jacks labeled "DRUM GATES", with each jack individually numbered 1 through 8 in a staggered two-row pattern. These provide individual gate triggers for the BeatStep Pro's eight drum tracks. The enclosure has a raw, DIY-fabricated aesthetic with hand-stamped lettering.|thumb]]

The custom interface box exposes the BeatStep Pro's CV signals on 1/4" jacks:
* '''Sequence 1 and 2:''' each have three jacks — VELO (velocity), GATE, and PITCH
* '''Drum Gates:''' eight numbered jacks (1–8) for individual drum triggers
* '''Clock Out:''' sends timing pulses to sync other gear
* '''IN:''' MIDI input
Patch these to the corresponding inputs on your analog synth or modular system.

== Step 5: Know the Voltage Standards ==
The CV signals follow common modular conventions:
* '''Pitch:''' 1 volt per octave (1v/oct) — the standard for most Eurorack and vintage synths
* '''Gate:''' 0v when a note is off, 12v when a note is on — a relatively hot gate signal, compatible with most modular gear

== Putting It All Together ==
Once your Ableton tracks are routed to the appropriate channels on the BeatStepPro port, you can sequence melodic or rhythmic parts in Ableton and use them to control the modular synthesizer or other gear that accepts CV or Gate voltages.
[[Category:Music Technology Labs]]
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:MTL Com 346]]
[[Category:MTL Com 347]]

BeatStepPro MIDI to CV

2026-04-16T20:47:06Z

Kamenb: Added images with descriptions.

<gallery>
BeatStepPro_MIDI_to_CV.pdf
</gallery>

= Connecting the BeatStep Pro to Ableton Live for MIDI-to-CV =

== Overview ==
The Arturia BeatStep Pro can act as a MIDI-to-CV converter, letting Ableton Live control analog gear (like Eurorack modules or vintage synths) through control voltage signals. This setup routes MIDI from Ableton into the BeatStep Pro, which then outputs pitch, gate, velocity, and drum triggers as CV through a custom patch box.

== Step 1: Choose the Correct Port ==
[[File:Ableton midi tracks.png|alt=A screenshot of three side-by-side MIDI track header strips from Ableton Live, showing the routing configuration needed to send MIDI from the DAW to the BeatStep Pro. Each track displays an identical set of controls: Track name/number row: Shows track identifiers "949", "1143", and "94" with colored activity indicators MIDI From: All three tracks set to "All Ins" and "All Channels" Monitor: "Auto" is selected (highlighted) on all three tracks, with "In" and "Off" as the unselected options MIDI To: All three tracks route to "Arturia BeatStepPro" Channel: The only differing setting — Track 1 is set to "Ch. 1", Track 2 to "Ch. 2", and Track 3 to "Ch. 10" This screenshot illustrates the channel-assignment pattern that drives Sequence 1, Sequence 2, and the drum gates on the BeatStep Pro respectively.|thumb]]

When setting MIDI output in Ableton, select the port labeled '''Arturia BeatStepPro''' — ''not'' the editor port. The editor port is reserved for Arturia's MIDI Control Center software and will not pass notes to the CV outputs.

== Step 2: Set Up MIDI Tracks in Ableton ==
You can set up '''up to three''' MIDI tracks depending on what you need to control — only create tracks for the voices you actually want to use. Each track is configured the same way except for the output channel:
* '''MIDI From:''' All Ins, All Channels
* '''Monitor:''' Auto
* '''MIDI To:''' Arturia BeatStepPro
Assign each track you create to the appropriate MIDI channel:
* '''Channel 1''' — drives Sequence 1 Output (pitch, gate, and velocity CV outputs)
* '''Channel 2''' — drives Sequence 2 Output (pitch, gate, and velocity CV outputs)
* '''Channel 10''' — drives the eight drum gate outputs.
*
For example, if you only need melodic control over one synth, a single track on Channel 1 is enough. If you want drums plus one melodic voice, use two tracks (Channels 1 and 10), and so on.

== Step 3: Understand the Channel Mapping ==
The BeatStep Pro listens on specific MIDI channels for specific functions:
* '''Channel 1''' controls the first melodic sequencer voice. Notes you play or sequence on this track come out of the Sequence 1 pitch, gate, and velocity jacks.
* '''Channel 2''' does the same for the second melodic voice on the Sequence 2 jacks.
* '''Channel 10''' controls the drum section. MIDI notes '''36 through 43''' each trigger one of the eight drum gate outputs (note 36 → drum 1, note 37 → drum 2, and so on).

== Step 4: Patch the CV Outputs ==
[[File:Beatstep cv interface.jpg|alt=A color photograph of a custom brushed-metal enclosure sitting on a wooden surface, serving as the CV patch bay for the BeatStep Pro. The box is divided into three labeled sections by engraved or stamped lettering: Upper-left section — Sequencer outputs: Two rows of three 1/4" jacks. The top row is labeled "SEQUENCE 1" with individual jack labels "VELO", "GATE", and "PITCH" beneath them. The bottom row, labeled "SEQUENCE 2", mirrors the same three-jack layout for velocity, gate, and pitch output. Upper-right section — MIDI and clock: Two jacks stacked vertically. The top jack is labeled "IN" (MIDI input) and the bottom jack is labeled "OUT" under the heading "CLOCK", providing clock output to sync external gear. Lower section — Drum gates: A horizontal row of eight 1/4" jacks labeled "DRUM GATES", with each jack individually numbered 1 through 8 in a staggered two-row pattern. These provide individual gate triggers for the BeatStep Pro's eight drum tracks. The enclosure has a raw, DIY-fabricated aesthetic with hand-stamped lettering.|thumb]]

The custom interface box exposes the BeatStep Pro's CV signals on 1/4" jacks:
* '''Sequence 1 and 2:''' each have three jacks — VELO (velocity), GATE, and PITCH
* '''Drum Gates:''' eight numbered jacks (1–8) for individual drum triggers
* '''Clock Out:''' sends timing pulses to sync other gear
* '''IN:''' MIDI input
Patch these to the corresponding inputs on your analog synth or modular system.

== Step 5: Know the Voltage Standards ==
The CV signals follow common modular conventions:
* '''Pitch:''' 1 volt per octave (1v/oct) — the standard for most Eurorack and vintage synths
* '''Gate:''' 0v when a note is off, 12v when a note is on — a relatively hot gate signal, compatible with most modular gear

== Putting It All Together ==
Once your Ableton tracks are routed to the appropriate channels on the BeatStepPro port, you can sequence melodic parts in Ableton and hear them come out of your analog gear as pitched CV, while drum patterns on Channel 10 fire gates to trigger percussion modules. Ableton becomes the brain; the BeatStep Pro becomes the translator.
[[Category:Music Technology Labs]]
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:MTL Com 346]]
[[Category:MTL Com 347]]

File:Beatstep cv interface.jpg

2026-04-16T20:45:11Z

Kamenb: A color photograph of a custom brushed-metal enclosure sitting on a wooden surface, serving as the CV patch bay for the BeatStep Pro. The box is divided into three labeled sections by engraved or stamped lettering: Upper-left section — Sequencer out...

A color photograph of a custom brushed-metal enclosure sitting on a wooden surface, serving as the CV patch bay for the BeatStep Pro. The box is divided into three labeled sections by engraved or stamped lettering:

Upper-left section — Sequencer outputs: Two rows of three 1/4" jacks. The top row is labeled "SEQUENCE 1" with individual jack labels "VELO", "GATE", and "PITCH" beneath them. The bottom row, labeled "SEQUENCE 2", mirrors the same three-jack layout for velocity, gate, and pitch output.
Upper-right section — MIDI and clock: Two jacks stacked vertically. The top jack is labeled "IN" (Clock input) and the bottom jack is labeled "OUT" under the heading "CLOCK", providing clock output to sync external gear.

Lower section — Drum gates: A horizontal row of eight 1/4" jacks labeled "DRUM GATES", with each jack individually numbered 1 through 8 in a staggered two-row pattern. These provide individual gate triggers for the BeatStep Pro's eight drum tracks.

File:Ableton midi tracks.png

2026-04-16T20:43:59Z

Kamenb: A screenshot of three side-by-side MIDI track settings from Ableton Live, showing the routing configuration needed to send MIDI from the DAW to the BeatStep Pro. Each track displays an identical set of controls: MIDI From: All three tracks set to "All...

A screenshot of three side-by-side MIDI track settings from Ableton Live, showing the routing configuration needed to send MIDI from the DAW to the BeatStep Pro. Each track displays an identical set of controls:

MIDI From: All three tracks set to "All Ins" and "All Channels"
Monitor: "Auto" is selected (highlighted) on all three tracks, with "In" and "Off" as the unselected options
MIDI To: All three tracks route to "Arturia BeatStepPro"
Channel: The only differing setting — Track 1 is set to "Ch. 1", Track 2 to "Ch. 2", and Track 3 to "Ch. 10"

This screenshot illustrates the channel-assignment pattern that drives Sequence 1, Sequence 2, and the drum gates on the BeatStep Pro respectively.

BeatStepPro MIDI to CV

2026-04-16T20:37:31Z

Kamenb: Added text description.

Category:Music Technology Labs

2026-01-07T18:33:57Z

Kamenb:

{{TwoColumn|lead=
The '''Music Technology Labs''' have a variety of analog and digital synths, analog tape machines and computer software.
<div class="gradientshadow"></div>
|content=

Access to the labs is normally reserved for students in the Electronic in Musics courses.

'''''Is a file missing?'''
Contact Ben Kamen - '''@kamenb''' or Ethan Camp : '''@ethan.camp'''
''
|sidebar=
{{Music Tech Sidebar}}

}}
[[Category:Media Services]]
[[Category:Campus Technology Spaces]]
[[Category:Media Technologies]]

Category:Music Technology Labs

2026-01-07T18:33:22Z

Kamenb:

{{TwoColumn|lead=
The '''Music Technology Labs''' have a variety of analog and digital synths, analog tape machines and computer software.
<div class="gradientshadow"></div>
|content=

Access to the labs is normally reserved for students in the Electronic in Musics courses.

''Is a file missing?
Contact Ben Kamen - kamenb or Ethan Camp : ethan.camp
''
|sidebar=
{{Music Tech Sidebar}}

}}
[[Category:Media Services]]
[[Category:Campus Technology Spaces]]
[[Category:Media Technologies]]

Otari MX-5050 Threading Tutorial

2024-11-22T01:38:02Z

Kamenb:

<big>'''[https://www.youtube.com/watch?v=e9v-L_IdFN0 Visit the TESC Productions YouTube page.]'''</big>

[[Category:MTL Com 346]]
[[Category:MTL Com 344]]
[[Category:MTL Com 343]]
[[Category:Music Technology Labs]]

Otari MX-5050 Threading Tutorial

2024-11-22T01:37:33Z

Kamenb:

<big>'''[https://www.youtube.com/watch?v=e9v-L_IdFN0 Visit the TESC Productions YouTube page.]'''</big>

<iframe width="560" height="315" src="https://www.youtube.com/embed/e9v-L_IdFN0?si=E0mWK8Wb9rXf6zM2" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

[[Category:MTL Com 346]]
[[Category:MTL Com 344]]
[[Category:MTL Com 343]]
[[Category:Music Technology Labs]]

File:Surround Sound.pdf

2024-11-21T01:25:09Z

Kamenb:

Apollo x8 Interface

2024-09-18T21:40:58Z

Kamenb:

We have Apollo x8 interfaces installed in the four Music Tech Labs, both Audio Mixing Benches and the 5.1 room.

== Intro ==
* We have Apollo x8 interfaces installed in the four Music Tech Labs, both Audio Mixing Benches and the 5.1 room.
* They are multichannel interfaces with
** HI-Z inputs for guitars
** Mic inputs with XLR jacks
** Line inputs with 1/4" jacks
* The interfaces and software were configured to work in the various labs.
* The Music Tech labs make use of more inputs and outputs of the interface.
* The Audio Mix Benches are set up in a similar way to make moving between labs easier.
* Not all of the inputs and outputs are connected in the various labs.

==Inputs ==
* On the front there are two HI-Z inputs inputs (labelled '''HI-Z 1''' and '''HI-Z 2''')
** Theses are for low level signal like electric guitars. Only use mono 1/4 cables.
* There are 4 XLR mic inputs on the back of the interface.
** There is a panel with 4 XLR jacks below the interface.
** These are connected to the 4 mic inputs.
** Microphones can be connected to these inputs using XLR cables (not included in the room).
** Each input has:
*** Trim control knob for setting input levels
*** Pad for reducing input levels
*** 48V Phantom Power for powering condenser microphones
*** Low cut filter.
* There are eight 1/4" line level inputs on the back.
* The four microphone inputs and the eight line inputs share only 8 channels of analog-to-digital conversion, '''so the first four channels can only be set to either mic or line, not both at the same time.'''

=== Selecting Inputs ===
* Press the Preamp knob to toggle between inputs 1-4.
* The number over the corresponding input on the LED display will light up.
* Press the INPUT button to toggle between MIC and LINE for the current input.
* Connecting a cable to HI-Z 1 or HI-Z 2 will force the input switch to HI-Z

=== Input Controls for Inputs 1-4 ===
* Input: toggles between MIC and LINE for the current input.
* Low Cut Filter: Enables a filter with a cutoff frequency of 75 Hz with a slope of 12 dB per octave.
** Affects Mic, Line and HI-Z inputs
* +48V: Press to turn on phantom power.
** When pressed the light will flash red.
** When the red light is solid phantom power is enabled.
** Only use with condenser mics.
* Pad: When enabled, the channel’s XLR Mic input signal level is attenuated by 20 dB.
** Does not effect the Line or Hi-Z inputs.
* Polarity: Inverts the phase of the input by 180 degrees.
** Leave off
* Link: Links the preamp controls of adjacent preamp channels together.
** 1 and 2 and 3 and 4
** Only the same types of inputs can be linked.
*** Mic/Mic or Line/Line
*** Does not work HI-Z inputs

== Outputs ==
* There are 8 line outputs on the back.
* Not every lab is using all 8 outputs.

== Labeling ==
* The various audio applications may refer to the inputs and outputs with slightly different names.
* We have tried to set the preferences to meaningful names but sometimes they may revert back to the default names.
* Below are table with the list of the inputs and outputs
* Some are physical inputs and outputs and others and virtual connections from the UA Console app.

=== Inputs ===
{| class="wikitable"
|'''Software Labe'''l
|'''Notes'''
|-
|Mic/Line/Hi-Z 1
|Switches between HI-Z, Mic and Line jacks
|-
|Mic/Line/Hi-Z 2
|Switches between HI-Z, Mic and Line jacks
|-
|Mic/Line 3
|Switches between Mic and Line jacks
|-
|Mic/Line 4
|Switches between HI-Z, Mic and Line jacks
|-
|Line 5
|Line Input 5
|-
|Line 6
|Line Input 6
|-
|Line 7
|Line Input 7
|-
|Line 8
|Line Input 8
|-
|AUX 1 L
|Aux 1 from the Console app
|-
|AUX 1 R
|Aux 1 from the Console app
|-
|Virtual 1
|Virtual connection between audio apps
|-
|Virtual 2
|Virtual connection between audio apps
|-
|Virtual 3
|Virtual connection between audio apps
|-
|Virtual 4
|Virtual connection between audio apps
|-
|AUX 2 L
|Aux 2 from the Console app
|-
|AUX 2 R
|Aux 2 from the Console app
|}

=== Outputs ===
{| class="wikitable"
|'''Software Label'''
|'''Notes'''
|-
|Line 1
|Line Output 1
|-
|Line 2
|Line Output 2
|-
|Line 3
|Line Output 3
|-
|Line 4
|Line Output 4
|-
|Line 5
|Line Output 5
|-
|Line 6
|Line Output 6
|-
|Line 7
|Line Output 7
|-
|Line 8
|Line Output 8
|-
|MON L
|The monitor output of the Console app. The headphone jacks get their signal from this output.
|-
|MON R
|The monitor output of the Console app. The headphone jacks get their signal from this output.
|-
|Virtual 1
|Virtual connection between audio apps
|-
|Virtual 2
|Virtual connection between audio apps
|-
|Virtual 3
|Virtual connection between audio apps
|-
|Virtual 4
|Virtual connection between audio apps
|-
|CUE 1 L
|Cue 1 from the Console app
|-
|CUE 1 R
|Cue 1 from the Console app
|}
[[Category:Audio Mixing Benches]]
[[Category:Music Technology Labs]]
[[Category:5.1 Mix Room]]
[[Category:MTL Com 343]]
[[Category:MTL Com 344]]
[[Category:MTL Com 346]]
[[Category:MTL Com 347]]

Basic Operation Guide

2024-09-18T21:35:27Z

Kamenb:

Content forthcoming...

[[Category:MTL Com 343]]
[[Category:MTL Com 344]]

Eurorack Modules

2024-09-18T17:24:06Z

Kamenb: Created page with " Category:MTL Com 346"

[[Category:MTL Com 346]]

Buchla Modules

2024-09-18T17:20:56Z

Kamenb:

Buchla Modules

2024-09-18T17:20:29Z

Kamenb:

Buchla Modules

2024-09-18T17:19:51Z

Kamenb:

Buchla Modules

2024-09-18T16:43:43Z

Kamenb:

[[File:Buchla 292 Quad Lopass Gate.pdf|thumb]]
[[File:Buchla 281 Quad Function Generator.pdf|thumb]]
[[File:Buchla 259 ComplexWaveform.pdf|thumb]]
[[File:Buchla 258 Dual Osc.pdf|thumb]]

[[Category:MTL Com 346]]

Buchla Modules

2024-09-18T16:40:35Z

Kamenb:

<nowiki>[[File:Buchla 258 Dual Osc.pdf|thumbail|Buchla 258]]</nowiki>
‎

[[Category:MTL Com 346]]

Buchla Modules

2024-09-18T16:40:22Z

Kamenb:

[[File:Buchla 258 Dual Osc.pdf|thumbail|Buchla 258]
‎

[[Category:MTL Com 346]]

File:Buchla 258 Dual Osc.pdf

2024-09-18T16:38:06Z

Kamenb: Kamenb uploaded a new version of File:Buchla 258 Dual Osc.pdf

File:Buchla 292 Quad Lopass Gate.pdf

2024-09-18T16:36:20Z

Kamenb:

File:Buchla 281 Quad Function Generator.pdf

2024-09-18T16:36:02Z

Kamenb:

File:Buchla 259 ComplexWaveform.pdf

2024-09-18T16:35:43Z

Kamenb:

File:Buchla 258 Dual Osc.pdf

2024-09-18T16:35:26Z

Kamenb:

Buchla Modules

2024-09-18T16:34:49Z

Kamenb: Created page with " Category:MTL Com 346"

[[Category:MTL Com 346]]