powerful pocket groovebox, synthesizer, sequencer, sampler, expander, drum machine

Make more music with less

The Woovebox is a powerful, ultra-compact, music workstation/groovebox, for fast digital music production, anywhere.

Synthesizer | Sequencer | Sampler

Synthesizer

16 part multi-timbral (1 x 5-voice polyphonic track + 15 x 4-voice paraphonic or mono tracks)*
full-control single grand unified engine with 17 versatile synthesis algorithms
17 low-aliasing oscillator models + up to 256 user-define oscillators/samples
Virtual Analog, FM, Super Saw, AM, RingMod, x0x percussion, time warp, more
2 oscillator models + 1 sine super/sub-oscillator per voice
1 multi-mode filter per voice (16 filter types)
2 x AEG, FEG, multiple LFOs per voice
170+ patch presets
global multi-FX; reverb, stereo chorus / phaser, 2 x stereo delay
per-voice FX; clip or wave fold distortion, saturation, pre/post bit crushing, resampling, global multi-FX sends
per-voice dynamics; compressor/limiter, 4-bus side-chaining, gating
master compressor/limiter, vinyl and noise effects
special attention for emulating vintage digital, analog and organic sounds
extensive, complex sound design capabilities with 100+ parameters per timbre
intelligent patch randomization for infinite patch variations
DJ effects (noise, drone, HP/LP filter, buffered audio, stutter)
2 x "DJ FX" dynamic resampling loop buffer @ 44.1kHz 16-bit stereo
can be used as 16-part sound module

Sequencer

16 songs x 16 tracks x 16 patterns x 16 steps
fast workflow; create new intricate song ideas in minutes
polyrhythms, generative, arpeggio and x0x-style patterns
per-step conditionals, 100+ step modifier types, probabilities
content-aware intelligent pattern and chain randomization
use scales, modes, chord types and inversions, w/o music theory
fast diatonic playing/programming mode
chord recognition from external MIDI connected gear
pattern chaining, pattern muting conditions
micro-timing, swing and groove control
live punch & dub recording with optional quantization
song mode with per-fragment transformation, automation, programmable DJ FX / looper
send sync and MIDI to control connected gear (CC, patch changes, banks, etc.)
export songs, dry & wet stems as .WAV and .MID files for use in DAW / hybrid workflow
undo functionality

Sampler

2m4s total across 2 banks @ 44.1kHz 8-bit mu-law (~12-bit effective) / 22.05kHz 16-bit**
reconstructive up-sampling to 44.1kHz 16-bit
512 total samples: 2 x banks x 16 user kits x 16 slices
dedicated 3.5mm line-input with optional direct mic-level sampling***
vocoder; imprint voice on audio
skip-back "always recording" sampling of past audio
digital sample import via MIDI connection
compatible with Teenage Engineering OP-1 / OP-Z drum kits****
real-time time stretching and pitch shifting
auto-slicing, manual slice, chop, re-arrange samples
add new oscillators, one-shots and loops
multi-sampled instrument support
random multi-sample variation triggering
use live audio as an oscillator model
re-sample internal synthesizer
automatic space management and optimization
undo functionality

* polyphony restrictions may apply depending on DSP resources
** one of two 1m2s sample bank may be used per song
*** direct mic-level sampling only recommended for recording basic voice samples and vocoder input
**** first 16 samples only, "Teenage Engineering" and "OP-1" are registered trademarks of Teenage Engineering AB

Pocketable | Connectable | Playable

Pocketable

66 g / 2.4 oz (SE) 69g / 2.5 oz (Pro)
73mm/2.9"(W) x 77mm/3"(L) x 9mm/0.35"(H slab) 31mm/1.22"(H slab+knob)
USB-C rechargeable 1000/1200mAh (SE/Pro) internal battery
9h+/10.5h+ (SE/Pro) battery life continuous play, 100% DSP usage, wireless off
physical on/off switch
sturdy ABS-plastic enclosure with textured back
protective case included

Connectable

3.5mm stereo audio-out with sync pulse out via breakout cable (cable included with Pro)
3.5mm stereo audio-in for sampling*, effects and live mix of external gear
3.5mm type-A MIDI in/out**
USB-C port (charging-only)***
Wireless MIDI in/out over Bluetooth® LE
Wooveconnect 2 web interface****; song/sample transfer, WAV export, firmware update
expander mode; turn any MIDI-capable keyboard or controller into an workstation & synth

Playable

live mode with 16 triggerable scenes, programmable automation and re-triggering effects
mute and unmute tracks on the fly
16 tactile micro switches for live playing and improvisation
hall sensor for touchless note accenting, tremolo, vibrato and filter effects while playing
unique dynamic key-mapping for live melody improvisation
process 2 channels of audio-in as part of your song or live performance
integrate external audio into synthesis engine
endless live sound mangling possibilities and rhythmic effects

* sampling in mono, mic-level capable for close-up voice & vocoder only
** switchable between either MIDI in or MIDI out (but not both), 3.5mm Type A TRS to DIN cable included with Pro
*** USB-C charger or charging cable not included
**** requires MIDI connection + WebMIDI enabled browser (e.g. not compatible with any iOS browser)

About the Woovebox

The Woovebox is a powerful workstation/groovebox that does more with less.

It aims to make music production simpler, cheaper and more portable by condensing a very powerful music workstation/studio into a small pocket-sized device - all through aggressive hardware and software optimization.

Pocketable, powerful and economical

The Woovebox was designed for those who love creating tunes away from a desk or studio; whether it's on a couch, on a bus, in a coffee shop, or in bed. No space, no hassle, no cables. Just plug in your headphones and go!

And when you are ready, the Woovebox plays nice with DAW and other gear; physical MIDI and sync out, wireless MIDI in/out over BLE, audio in, .WAV and .MID song and dry/wet stem export - it's all here.

Featuring a variety of synthesis algorithms, filters and effects, the optimized engine - quite literally - punches far above its weight; despite weighing only 68g/2.4oz/0.15lbs, the Woovebox offers deep sound design, real-time synthesis, sonic abilities and advanced features that are absent from grooveboxes many times its size and cost.

A fast workflow that inspires

The Woovebox workflow is a rethink of song building; it is fast, it fits a compact device, and it avoids "empty DAW project" paralysis. It was built to reduce friction and make the time from 0-to-head-bobbing to your own track as short as possible. You do not have to memorize endless obscure button combinations, and menu-diving is kept to a minimum.

The workflow centers on quickly setting up and filling out distinct building blocks, where each block quickly combines to create a whole that is more than the sum of its parts. Tempo, rhythm and chord info is re-used throughout the song, interface, playback options and even the synthesis engine. This is combined with conditional triggering and conditional modification of elements and tracks.

The results are complex, intricate compositions that sound refined, intentional and planned. If you wish, even just a single 16-step pattern for each of the 16 tracks, is entirely enough to make a complex song that keeps the listener's attention.

Built from scratch using close-to-the-metal programming

In hardware engineering, size restrictions mean power limitations. And power limitations mean DSP (Digital Signal Processing) limitations. Starting off as a personal challenge during the days of lockdowns by a veteran signal processing engineer, the Woovebox' DSP engine was built from scratch to be as "close to the metal" and optimized as possible.

It is a style of programming that focuses on extracting every last drop of raw performance from the hardware, at the cost of easy development. The hardware, firmware and DSP code were hand-optimized in self-modifying, self-reprogramming assembly (precluding the use of any open source libraries) over the course of four years, to perfectly balance frugality with power, audio quality and features.

As a result, your Woovebox synthesizes full, complex tracks and effects in real-time, yet the small built-in battery still lasts 9h+ on one charge. In all aspects the Woovebox project embodies doing more with less.

Sound demos

These sound demos were 100% created on the Woovebox micro music workstation as a fully self-contained device.

no ROMples, no "mini engines", no compromises, no tricks

As opposed to many other grooveboxes (or their demos), the Woovebox prides itself on its ability to synthesize almost anything from scratch in real-time using a single, powerful engine that is 100% controlled on the device itself.

All demo songs were exclusively synthesized in real-time, without samples unless explicitly noted, using just white noise, sine, triangle, square and saw waves. No tricks, no resampled chords, no special or limited "mini engines". Everything you hear - percussion, chords, leads, FX - is synthesized by one single engine, in real-time, without compromises.

Any vocal samples were imported raw and unprocessed. In all cases, any processing or slicing was performed on the device. Strictly no "baked-in" effects. Output was digitally rendered to WAV via Wooveconnect and converted to MP3 in Audacity, without any further external processing or mastering.

Best appreciated with headphones 🎧 or a good speaker system.

Knight Rider (1982) (Remake)

This 100% Woovebox produced remake of Stu Phillips iconic theme tune demonstrates;

•Powerful real-time synthesis of complex timbres using only noise and sine, triangle, saw and square waves; strictly no samples were used for this track
•Recreation of its various iconic effects, instruments and timbres•How use of 100% synthesis allows for every muted guitar pick to sound different, just like a human performance•Use of multi-instrument mode, allowing tracks to switch between timbres

.SYX available in the Resources section.

"Serrated"

This Woovebox demo track demonstrates;

•The engine - at its peak - pushing 91 simultaneous saw waves as part of 13 real-time filtered super saw oscillators (7 saws per super saw x 13), in addition to 9 sine wave sub oscillators, a great number of other of oscillators and noise generators for the rest of the timbres, in addition to hammer sample, cymbal crash sample, real-time time-stretched vocal samples, dynamics, send effects and master compressor/limiter.
•A track that was 100% synthesized from scratch, except for raw vocal samples, built-in piano hammer and crash cymbal samples.•Build-up using a DJ FX filtered buffer-lock•Extensive use of side-chaining•Real-time time-stretched vocal effect

"Chronophobia"

This 100% Woovebox produced symphonic ambient track demonstrates;

•100% real-time on-device synthesis of complex, layered ambient pads, orchestral pads, percussion and effects, exclusively from basic waveforms - noise, saw, square, sine and saw waves; strictly no samples were used for this track•Over-the-top reverb (high feedback) and subtle "sparkle" delay•Semi-generative playback and events through complex pattern interactions and conditionals

"Give It Up"

This 100% Woovebox produced house track was created to demonstrate;

•100% real-time synthesized song from basic waveforms and white noise (except vocal samples/chops)•Synthesized house piano with sympathetic resonance simulation•DJ FX in the form of gated fallers, whistlers, filters, real-time synthesized scratch effects using past engine audio

"Creation"

This homage to 90s UK Jungle pirate radio demonstrates;

•Quintessential Jungle ROMpler pad emulation (100% real-time synthesized using basic waveforms; NOT a sample!)•Chopped Amen break (100% on-device)•Heavy compression and distortion to mimic contemporary pirate radio broadcast•Various DJ FX•AKAI S950/S1000-style vocal time-stretching

"Not My Love"

A short, 100% synthesized house track (except vocals) that demonstrates;

•Liberal use of Song mode's per-fragment DJ FX•Custom buffer-lock effects•Custom reverse reverb effects•Custom DJ filters•Custom drone effects•Custom white noise effects•Custom risers & fallers•Gating of the DJ FX•Reverse audio loop that emulate the quintessential House "sampled loop"-based backing, enriching the composition, yet without using samples or using up tracks or DSP resources•100% synthesized piano / chords•Filter, distortion and delay effects on the vocal•Subtle vinyl noise, crackle

.SYX available in the Resources section.

"What Is Love" (remake)

This 100% synthesized Woovebox remake of Haddaway's iconic 90s track demonstrates;

•Complete real-time synthesis of every aspect of the original song, with all elements and sounds accounted for, including the vocal line.•Close approximations, via synthesis, of classic sounds such as Lately Bass, 909, phased saw, layered house organ, various percussion sounds, and more (strictly no samples were used for this track).

.SYX available in the Resources section.

"My Light (In Dark Times)" - backing track

This 100% synthesized backing track demonstrates;

•Synthesis of complex timbres such as piano, string section (violins, cellos, pizzicato strings), 808-like percussion, swirly pads, staccato super saws; strictly no samples were used for this track

"Da What?"

This short 100% synthesized Woovebox excerpt shows how iconic sounds are effortlessly replicated on the Woovebox. Highlights include;

•100% real-time synthesized
•Iconic emulated 303 sounds•Iconic dirty analog lead sounds•Master limiter for iconic punchy drums

"007: Requiem for a Spy"

This 100% Woovebox produced 007-inspired homage track was created to demonstrate;

•Powerful real-time synthesis of complex timbres using only noise and sine, triangle, saw and square waves; strictly no samples were used for this track
•Effortless use of quintessential 6th and 9th "Bond" chords and progressions•Extensive use of multi-instrument mode, allowing tracks to switch between timbres•Use of conditionals, including on chord track

.SYX available in the Resources section.

"Your Words Against My Words"

This 100% Woovebox produced synth track was created to demonstrate;

•100% real-time synthesized song from basic waveforms and white noise; strictly no samples were used for this track
•Synthesis of patches (e.g. PolySix-like fat line bass, leads, guitar, percussion) suitable for 80s- and synth-inspired songs
•Extensive use of "Sparkle" algorithm on the second delay unit, to synthesize augmenting musical overtones to generate interest in the higher frequencies

.SYX available in the Resources section.

"Spice"

This 100% synthesized Dune-inspired soundscape/loop demonstrates;

•Synthesis of complex timbres, such as sitars, choirs, evolving pads and conga/bongo/timbale-like percussion.

"A Kiss From Beyond"

This 100% Woovebox produced classic 90s/00s trance track was created to demonstrate;

•Fully synthesized song, except for built-in crash sample and dry imported vocal samples•Classic 909-style real-time drum synthesis•"DJ effects"; risers, fallers, master filter, reverse buffer effect
•Extensive song mode build-ups and automation•Use of multi-instrument mode to re-use track timbres across other tracks•Use of real-time time-stretch effects on voice

"Exposé"

This 100% Woovebox produced synth track was created to demonstrate;

•100% real-time synthesized song from basic waveforms and white noise; strictly no samples were used for this track•Evolving pads

"So Good (feat. Aiva Chanel)"

This 100% Woovebox produced eurodance track was created to demonstrate;

•Fully synthesized song, except for built-in crash cymbal sample, built-in piano hammer sample, and imported vocal samples
•808/909-style real-time drum synthesis (all drums and percussion, except crash cymbal)
•Supersaw real-time synthesis (strings, arpeggios)
•Sign Conditional real-time synthesis (grand piano, with use of built-in hammer sound sample)•Virtual analog real-time synthesis (bass, lead)•Real-time effected sample playback (raw Aiva Chanel Harmony sample pack vocals)
•Song mode builds, breaks and automation (filter and volume)
•Real-time multi-FX (chorus configured as phaser, reverb, delay)
•Real-time synthesis of faller/riser effects
•Real-time mastering (compressor/limiter) and side-chaining•Conditional triggering (all tracks) and polymeters (bass, arpeggios, rim shot)•Auto-chord inversions (strings)

"Thunderstorm"

100% synthesized Australian summer storm-inspired soundscape, demonstrating advanced sound design including;

•A detailed, evolving soundscape that is 100% real-time synthesized from basic waveforms, white noise and filter self-resonance; strictly no samples were used for this track•Advanced white noise shaping; wind/rustling, rain hitting foliage, rain hitting progressively saturated forest floor, rain runoff, rain and residual drops hitting forming puddles, thunder at various distances, overhead thunder cracks with landscape reflection•Various bird calls & noises synthesized by using filter self-resonance rather than oscillators•Various frog noises•Programmed evolution of the soundscape using Song mode

.SYX available in the Resources section.

"The Stars"

This 100% Woovebox produced track was intentionally created from just a single pattern per track, to demonstrate;

•How, with the powerful Song mode, even a single 16-step pattern per track can be spun out into a full-fledged compelling song, complete with multiple build-ups, breaks and themes•All patches real-time synthesized from scratch, with the exception of built-in crash cymbal sample and imported vocal samples
•Extensive use of "Sparkle" algorithm on the second delay unit, to synthesize augmenting musical overtones to generate interest in the higher frequencies

.SYX available in the Resources section.

"Skeleton Crew"

This 100% Woovebox produced dark ambient / drone doom / "horror movie" track demonstrates;

•A 100% on-device sound-designed soundscape•100% synthesized, except for a "ahh" sample, recorded through $2 mic in the audio input, real-time transformed into ominous "undead" hum

"1, 2, 3, let's go!"

This 100% Woovebox produced dark house track was created to demonstrate;

•100% real-time synthesized song from basic waveforms and white noise (except four played back samples; "1", "2", "3" and "let's go")
•Samples recorded straight into-device using a USD $2 microphone in the line-input•Real-time pitch shifting and time warping of the four samples•On-board vocoder ("let's go")
•Gater behavior in/near breaks
•Synthesis of note; all drums, scratch effect, 303, analog PWM drone and house organ stabs•Subtle vinyl noise and crackle

.SYX available in the Resources section.

"Good Ol' Days"

This 100% Woovebox produced nostalgic chiptune / bitpop track was created to demonstrate;

•Real-time synthesis of the quintessential sounds of 70s, 80s, 90s and 00s home computers and game consoles - strictly no samples used for these
•Real-time sliced/rearranged-from-source Amen break (used in games such as Sonic the Hedgehog, Metal Gear, Need for Speed, Devil May Cry, etc.)

In order of appearance; Amiga / .MOD / .STM (lo-fi gritty string pad - synthesized and bit crushed), AY-3-8910 / PSG / MSX / Atari ST / Amstrad CPC (3-voice square wave chords with decay), 2A03 / NES (4-bit stepped triangle wave), 2A03 / NES (fixed 25% duty cycle square wave), Amen break, Wii Channel (sine lead), various 70s and 80s arcade effects, C64 SID (PWM lead with slides and vibrato), OPL / SEGA Genesis / Mega Drive / Ad Lib / Sound Blaster (FM), "fake chord" hyper arpeggios, 70s and 80s Sample & Hold explosion.

.SYX available in the Resources section.

"Sea Caves of Arcadia"

This 100% Woovebox produced lounge track was created to demonstrate;

•Fully synthesized song, except for built-in crash cymbal
•Synthesis of water-related timbres•Synthesis of wah-guitar
•Dual delay effects with feedback effects (cave echoes)

"Bitter Sweet Memories of You"

This 100% Woovebox produced trip hop-style demo was created to demonstrate;

•Fully synthesized song, except for "mmm" vocal sample•Organic timbre synthesis (percussion, orchestral strings, guitar)
•808-style kick/bass•Hi-hat ratchets
•Lo-fi loop synthesis (industrial machine loop) and warped leads (sine lead with deliberate dissonant overtones)
•Advanced filtered delay effects through dual delay unit feedback ("mmm" vocal sample, which is the only sample in this track)•Vinyl crackle and hiss effect

"Columbidae"

This short 100% Woovebox produced alternative hip hop sound demo was created to demonstrate;

•Fully synthesized pattern/loop (except for built-in crash cymbal sample)
•Sound synthesis for alternative hip hop percussion, loops and sounds, such as layered claps/snare and syncopated hi-hats

"Zephyrus' Pursuit"

This 100% Woovebox produced sub-tropical house track was created to demonstrate;

•Fully synthesized song, except for imported vocal samples•Dual delay effects with feedback effects (vocals)
•A song that does not use the chord track•Glissando conditionals

"Acid"

This short 100% Woovebox produced 90s rave/acid Northern European hardcore sound demo was created to demonstrate;

•303-like and 909-like synthesis•Fully synthesized demo from basic waveforms, except built-in crash cymbal and vocal samples

Multi-sampled upright piano demo

This demo showcases the Woovebox's ability to create realistic acoustic instrument renditions using multi-samples and sound design.

In this demo, you can hear a multi-sampled public domain piano with samples from each octave, enhanced with a Super Saw wave, analog oscillator styles, and subtle pitch and phase variations. Additional effects include reverb with volume-driven ducking, white noise for resonance, and pitch-to-pan for stereo distribution. The result is a nuanced, organic sound, simulating real piano characteristics.

Woovebox Community Highlights

Discover how artists from different backgrounds use the Woovebox in their music and live performances.

Tracks, Albums, Live Performances

https://www.woovebox.com/resources/songs-and-albums-made-with-the-woovebox

Support, guides & tutorials

Learn how to make more music, with less

For its small size, your Woovebox is an incredibly deep, powerful and feature-rich device. Keep it simple, or delve into the depths of its capabilities; all the information is here to help you get the most out of your Woovebox and Wooveconnect service.

Cheat sheet

We get it. Manuals are boring. These are the absolute essentials you need to operate your Woovebox.

Global

Set output volume

Hold play, turn value knob

Switch to track Cd-A5

Hold value + short-press desired track 1/Cd-13/A5

Switch to track A6-A8

Hold value + long-press desired track 14/A6-16/A8

Switch to Sampler/Vocoder

Hold value + short-press 14/A6/Sampler

Switch to Live Mode

Hold value + short-press 15/A7/Live

Switch to Song Mode

Hold value + short-press 16/A8/Song

Play Song or Pattern

Press play to start playing
Press play once more to stop playing

Change parameter

Hold 1-16, turn value knob
(optional) For fast value changes, hold 1-16, press value knob in and turn value knob
(optional) For snapping to nearest min, max or half value, hold 1-16, press value knob in

Open context menu

Hold write, short press value repeatedly to cycle through options

Action context menu item

(optional) With context menu open, turn value knob to select sub-item or set parameter
With context menu open, long-press value

Set duration of note programming, live scene or song fragment

Hold write, turn value knob

Show long parameter name

Hold parameter 1-16 for an eight-character description

Undo (restore before last save)

Switch to Song mode and turn value knob to scroll to the "GLob" page.
Hold write, short-press value repeatedly to open the context menu and cycle through options
Find the "Undo" option.
Hold write and hold value to action the "Undo" item.

Battery level

Hold play, short-press value knob
(also displayed during save)

Sequencer / Track Edit mode

Program note or slice on step 1-16

Audition note or slice by pressing 1-16
Hold write and press step 1-16
(optional) Still holding write, cycle through parameters by pressing value
(optional) Turn value to change parameter

Delete note or slice on step 1-16

Hold write and press existing step 1-16

Select pattern 1-16

Hold play and short-press 1-16

Solo current track Cd-A5

Hold value + short-press current track 1/Cd-13/A5
Repeat to unsolo

Solo current track A6-A8

Hold value + long-press current track 14/A6-16/A8
Repeat to unsolo

Change playing octave

Hold play, then also hold write and turn value knob

Live recording overdub

Hold write + short-press play
Short-press play to stop recording

Live recording erase

Hold write + long-press play
Short-press play to stop recording

(Sequencer "SEq" only) Edit note or slice on step 1-16

Hold step 1-16 until blinking
Cycle through parameters by pressing value
Turn value to change parameter

(Sequencer "SEq" only) Multi-step edit

Hold first step 1-16 until blinking
While still holding step hold write and let go of step 1-16
Still holding write, select other steps 1-16
Cycle through parameters by pressing value
Turn value to change parameter for all selected steps at once

(Sequencer "SEq" on Cd/Chord track only) Select chord types

Hold CdLo or CdHi and turn value knob to select new chord type for 1-3+5-8 or 9-11+13-16 respectively.

Select preset patch

Turn value to select Patch "Pach" page
Hold any of the patch categories Cd-A2
Turn value knob to browse patches
(optional) Select first item ('undo') to revert back to original patch
(optional) Select last item ('init SaW') to init patch with basic saw wave

Jump between last used page and sequencer page

Press short-press value

Live Mode

Mute/unmute tracks in Live scene or programmed scene 1-16

Hold write and press 1-16

Switch between Live scene or programming scene 1-16

Hold value and press 15/Live

Use Live scene (mutes/unmutes/solos) in Sequencer / Track Edit mode

Hold value and long-press 1/Cd-16/A8 to use mutes/unmutes/solos in track 1/Cd-16/A8

Select track to improvise and play melodies on

Hold play for 2 seconds until screen reads "Slct trak"
Still holding play, select the track 1/Cd-16/A8 you wish to improvise or play melodies on

Switch to scene immediately

Hold play and short-press 1-16 to switch to scene 1-16 immediately

Switch to scene when ready playing (schedule scene change)

Hold play and long-press 1-16 to select scene 1-16
The next scene will be scheduled for when the current scene length has elapsed

Edit track Cd-A8 behavior, pattern #, chord lock, retriggering fx for scene

Hold 1/Cd-16/A8 until blinking
Cycle through parameters by pressing value
Turn value to change parameter

Edit multiple tracks at once for scene

Hold first track 1/Cd-16/A8 until blinking
While still holding track 1/Cd-16/A8, hold write
Still holding write, let go of track 1/Cd-16/A8
Still holding write, now select other tracks 1/Cd-16/A8
Cycle through parameters by pressing value
Turn value to change parameter for all selected tracks at once

Song Mode

Add new Song fragment to end

Turn value knob to find first "End" fragment (or short-press value once or twice)
Hold write + turn value knob to set fragment length

Mute/unmute tracks for fragment

See “Mute/unmute tracks in Live scene or programmed scene 1-16”

Use Fragment (mutes/unmutes/solos) in Sequencer / Track Edit mode

See "Use Live scene (mutes/unmutes/solos) in Sequencer / Track Edit mode"

Edit track Cd-A8 behavior for song fragment

See "Edit track Cd-A8 behavior, pattern #, chord lock, retriggering fx for scene"

Edit multiple tracks at once for song fragment

See "Edit multiple tracks at once for scene"

Enter/exit fragment DJ FX mode

Hold value + press 16/A8/Song

Jump between start and end fragment

Press value

Jump to last played fragment

Double-press value

Sampler & Vocoder

Record sample from audio input

Hold write + 1-16 to record sample to slot 1-16

Switch mic or line-level source

Turn value knob

Select kit US.01-US.16

Hold play and short press 1-16

Use kit on track Cd-A8

Select and action “SMPK Pach” from context menu
Switch to track Cd-A8 (“Pach” page opens automatically)
Select and action “Pste Pach” from context menu

Skip-back resample past audio

Select and action “SKiP bacK” from context menu

Guides, tutorials and docs

Get to know your Woovebox and music production, from beginner to expert level.

Download 2.0 reference PDF

https://connect.woovebox.com/docs/reference.pdf

Learning the Woovebox

Learning how to operate the Woovebox is surprisingly easy, quick and intuitive. Basic navigation is consistent, with only a few basic gestures and button combos to learn. However, the Woovebox is an extremely deep device. Knowing what to focus on first, depending on your prior experience, is key.

How to approach

Learning how to use the Woovebox for your music, benefits from different approach, depending whether you are a beginner, intermediate or advanced user.

Beginners

Getting started with a Woovebox will instantly provide you with a polished sound, without needing to know much about sound design or music theory. All that can come later - or not at all. Fun comes first.

Yes, the Woovebox is deep, with lots of things to tweak. But you don't have to. Not yet. Or ever. For example, feel free to ignore all pages between the 'Seq' (sequencer) and 'Pach' (patch pages) when getting started. They're not needed to start having fun from the get-go.

Crucially though, in the Woovebox, know that you have everything at your disposal to make full tracks for years to come. You do not have to purchase anything else; it will allow you to resist Gear Acquisition Syndrome ("GAS").

The Woovebox will grow with you as your skills and knowledge develops. For you, the learning curve first centers around;

•understanding the basic terminology of beat making (such as "patterns", "tracks", "sequencing", "patches")•understanding how a step sequencer works•understanding how to dial up a preset, and how to program a simple pattern•understanding the different roles different instruments and percussion play•understanding how to create a simple 16-step pattern across multiple tracks (for example, some chords, a bass, and a kick)•understanding how to manually build up a song in live mode by muting and unmuting different tracks•understanding how to automate build up of a song in Song mode using the basics of fragments•understanding the basic components and terminology of a subtractive synthesizer (terminology like "oscillator", "filter", "ADSR", "envelope generator", "LFO", etc.)•understanding how this terminology relates to the pages of a Woovebox track

Please note that not all these basics are necessarily the purview of the Woovebox documentation. So please be prepared to use some other resources and help to get you started.

And if you get stuck, please don't hesitate to hop on the Discord or Reddit to ask the friendly community for help!

Intermediates

You have explored the basics of sequencing, layering tracks, maybe got one or two pieces of other gear, and maybe even dipped your toes into the world of synthesis. You know how to build a beat, stack a few instruments, and turn them into something that resembles a song. With the Woovebox, this is the perfect time to level up.

At this point, the Woovebox becomes less about what it "can do for you" and more about how you can use it to shape your own sound. The fun is still immediate, but the tools at your disposal now invite you to go deeper: to move from simply stringing patterns together, to sculpting textures, arranging songs with intent, and learning how subtle tweaks can transform your music.

For you, the learning curve centers around:

1understanding how tracks have their own patterns (and not, for example, the other way around)2understanding how a track's patterns are made, sequenced3understanding how each track has an associated timbre4understanding the basics of conditional sequencing to add surprise, variation, or evolving rhythms5understanding the basics of the synthesizer architecture and how to perform basic patch sound design (for example changing an envelope or LFO)6(crucial to get to the core of the Woovebox) understanding how tracks and their patterns are used in a Song mode via fragments7understanding how to tweak presets and patches to give them your own character, rather than relying on them as-is8understanding how to use envelopes, filters, and LFOs to create movement and variation in your sounds9understanding how to fragments and/or scenes (live) can be applied tastefully to create transitions, tension, and release10understanding how to layer instruments (bass, chords, percussion, leads) so that each has its own space in the mix

It's all about developing habits and techniques that make your tracks feel alive, rather than mechanical. The Woovebox rewards experimentation, so don’t be afraid to push its sequencing tricks, FX, and patch editing tools to see what happens. Refine, refine, refine.

Think of this as the point where you move from making beats to producing tracks. The building blocks are the same, but your sense of structure, sound design, and flow starts to matter more. And that’s where the Woovebox really shines: it gives you all the depth you need to grow, without ever taking away the immediacy that makes music-making fun.

Advanced

You have used grooveboxes or DAWs before. You may even a performance or two under your belt. With the Woovebox, a trove of grooves, unique sounds, syncopated rhythms and - if you're open to them - "happy accidents", is waiting for you

Many of the same things you are familiar with in other grooveboxes or DAWs, are possible on the Woovebox. Often they are not only possible, but allow a whole new take on a subject.

Sound design tutorials for Serum etc. tend to be replicable in the Woovebox engine. Digital audio and MIDI export - full mix or individual stems - is at your disposal via Wooveconnect. Performing your songs with (or without) an external controller is also possible, while the Woovebox happily integrates with (or drives) other gear via MIDI, analog sync out. It can incorporate incoming audio as oscillators, or route it to its DJ FX buffers for looping and other effects.

For you, the learning curve centers around;

1understanding how tracks have their own patterns (and not, for example, the other way around)2understanding how a track's patterns are made, sequenced (including conditionally) and - optionally - chained3understanding how each track has an associated timbre4understanding the basics of the synthesizer architecture and how to perform basic patch sound design (for example changing an envelope or LFO)5(crucial to get to the core of the Woovebox) understanding how to use tracks and their patterns in Song mode via fragments6understanding the synthesizer architecture in-depth, dissecting presets that are interesting to you7understanding how to program a fragment's DJ and buffer FX8understanding and setting up connectivity, gear integration, live mode scenes and other live performance capabilities and considerations

It cannot be overstated how important it is, to get to a point where you are comfortable using Song mode and fragments. More than any other groovebox, the entire workflow centers around (and works towards) Song mode.

Finally, when creating your patterns, try to "do more with less"; make liberal use of things like conditionals ("when"/"do"), as well as auto chord inversions, etc. Doing so facilitates happy accidents and makes changing up a song easier. Combined with the chord following feature, working like this can almost "improvise" on your behalf or yield "high level" generative sequences.

General advice

Automatically call up documentation via Wooveconnect 2

With your Woovebox connected to Wooveconnect, a long-press on a parameter will not only provide an 8-character description on the LED display, but will also call up the full website documentation for that parameter. Your screen or device must be in landscape mode.

Song mode

As opposed to many other grooveboxes, Song mode is not an afterthought. In fact, almost everything about the Woovebox workflow and sound design, is about functioning as build blocks for a song.

As such, getting to the point where you can use Song mode effectively is key to get the most out of your Woovebox. If full song creation sounds daunting, there is a song writing guide/recipe here.

Never stop learning

Music and sound design are open-ended topics. No matter how far along you are in your journey, there are always new things to discover; new sounds, new techniques, new genres. Your Woovebox is a open-ended tool to help you discover and explore these, rather than confining you to one specific use-case, genre, instrument or function.

Tweak the presets

Before resorting to, for example, the vast Teenage Engineering OP-1 / OP-Z sample library, delving into the Woovebox' synthesis engine is highly recommended. Even if you're not experimentally inclined, or are simply not interested in synthesis, try tweaking the presets, or use the patch randomization function to find a unique sound.

It's the gateway to making a track "your own" and developing your own style and sound. Your Woovebox can perform in virtually all genres of music. If you do decide to use samples however, then learn how to use them as a basis of your own sounds (rather than using them as-is). The ways samples can be used and transformed on the Woovebox are - again - vast.

Enjoy your time with the Woovebox

Most of all, enjoy your time with the Woovebox! A learning curve is expected, but it will get easier and things will click. If there are any roadblocks to your enjoyment, a friendly community on Discord or Reddit is here to help you.

The very basics

No patience? Just take note of the following, and you may well be able to figure out your Woovebox on your own.

Booting up

Switch on your Woovebox without touching the write or play touch buttons (as their sensitivity is calibrated during power-on). A short wake-up sequence follows.

The length of the full boot sequence may vary depending on the amount of housekeeping your device needs to do, but should be in the range of ~2 seconds for normal operation. Boot-up after a firmware update/reset may take longer. In longer cases (up to 2 minutes), the letters "W O O V E B O X" will scroll past until the device is done.

A number of special boot modes are available by holding special 1-16 key combinations during power-on; please see "boot modes".

Basic interface navigation

Physical controls

Your Woovebox comes with 19 pressable buttons;

•16 keys labelled 1-16
•a value knob that can be turned, as well as pressed in
•two touch-sensitive shoulder buttons/areas labelled write and play.

The value knob

The value knob is an infinite rotary encoder and can be turned left or right. The speed with which you turn the knob often has an effect on how quickly a value, setting, or page selection changes. This allows for very fine control by turning slowly, and fast, coarse control by turning quickly.

However, when using the value knob to set values on the different track pages (hold 1-16 corresponding to the parameter you want to change, and turn the value knob), it can be quicker and less tiresome to instead hold 1-16 corresponding to the parameter you want to change, hold the value knob pressed in, and then turn. This will skip much larger values without having to turn fast.

The write and play capacitive shoulder touch buttons

The write and play buttons are touch-sensitive (capacitive) areas. They are located at the top left and right edge of your Woovebox respectively. These buttons take the form of touch sensitive areas on the surface of your Woovebox.

Touch sensitivity of these buttons is re-calibrated every time you turn on your Woovebox. Therefore, please make sure you are not touching these buttons at that time.

The write and play touch buttons are calibrated to require full, deliberate covering of the entire area by a finger or thumb. Partial touches or coverings are likely to be rejected. In the case of the play button, if using your thumb, having your thumb along side the base of the encoder, touching it, is a good guide.

If, despite these tips, you find the capactive play and write buttons do not reliably register your touch (for example, because your have very dry fingers/thumbs or because you have callused fingers/thumbs), you can boot (e.g. turn on) the device while holding 6/Sn to make the buttons more sensitive.

Long presses and short presses

To access some functions or behaviors, a distinction exists between how long you press a button. A short press is performed by holding down a button no longer than one second, while a long press is performed by holding down a button longer than one second.

Button combinations

The Woovebox is a small device and some functions require a combination of two controls to be used. The amount of button combinations used are, however, kept to a minimum and are used in the same way across the UI. For example, changing a parameter usually requires holding down one of the 1-16 keys while turning the value knob.

4x4 LED grid

The 4x4 LED grid (in the form of LEDs placed above each of the 1-16 keys) indicates different aspects, depending on the mode or page you are on. The LEDs may indicate that notes are assigned to steps 1-16 (on the 'Seq' page), that presets are available (on the 'PAch' page), or may in other cases indicate that a parameter may be accessed by holding down the 1-16 key and turning the value knob.

When playing back a pattern or song, a virtual "playhead" (blinking LED) runs from left to right, top to bottom to indicate the step being played.

Context menu

A menu with context-specific options to what you are doing (can be mode or page dependent) is available, by holding write for the duration you wish to use the menu, and short pressing the value knob. Short pressing the value knob again (while still holding write) will cycle to the next item in the menu. To action a menu item you selected, perform a long press on the value knob.

Some context menu options have sub-items or parameters you can select. Such items will show a short "running light" indicator. Turning the value knob allows for selection of the sub-items or for setting the parameter.

Accessing extra / advanced options like this through the context menu, is a universal mechanic throughout the Woovebox interface.

Behavior and location consistency

You do not have to memorize endless obscure button combinations to get around your Woovebox. Neither is there much menu-diving involved. Helpfully, similar functions or parameters tend to use similar locations, layouts or control combinations.

Some examples;

•Setting a step length ("note duration"), whether it is in Track edit mode, Song mode, or in the Sampler, is done through holding write and turning the value knob.•Editing the two oscillators per voice (the "Osc1" and "Osc2" Track pages), identical 1-16 locations for each parameter are used.•When editing LFOs, the waveform ("wave") is always selected using the "first" (1, 5, 9, 13) column, depth ("dpth") always selected using the "second" (2, 6, 10, 14) column, rate ("rate") is always selected using the "third" column (3, 7, 11, 15), and hold ("hold") is always selected using the fourth column.•Modification, deletion or transformation of notes and samples (either one-by-one or multi-select), generally involves the write button.•Non-destructive gestures (e.g. selection of patterns, songs, sample kits, playing things) usually involve the play button.

Auto-save

Any modifications you made are automatically saved when;

•Playback starts.

or

•When 8 seconds have elapsed, during which no other modifications were made.

Any previous save state is moved up to become the "undo" state. This "undo" state can be recalled by actioning the "undo" context menu item, which appears in the Song mode's "GLob" page (the same page the device drops you in upon boot).

Please do not turn off your Woovebox when an auto save is scheduled. To force-save, simply press play. In the unlikely event a song is mid-save while power is lost, there is a small chance a song may get corrupted. You can recover the previous save state by using the "undo" state mechanic described above.

Auto-save can be turned off with a special boot mode (see boot modes).

16 x 16 x 16 x 16

Your Woovebox holds 16 songs. Each song has 16 tracks. Each track has 16 patterns. Each pattern is made up of 16 steps.

While just 16 patterns x 16 steps (= 256 steps max.) for each track per song seems very limiting at first glance, you will quickly come to learn that what appears to be a limitation, is actually one of the Woovebox' core strengths.

That is because, amazingly, even just a single 16-step pattern for each track is enough to create a full, complex-sounding song; it is very important to take note of how the Woovebox, contrary to many other grooveboxes, gives you 16 individual patterns per track. Many other devices swap this, and often give you a number of tracks per pattern. This pattern independence from the tracks, allows you to mix and match what your tracks are playing in your final song independently.

Songs

Once the device has booted up, it will start you off in Song Mode ("SG") with the last used song loaded ("01"-"16"). Song Mode is where you can select the song you wish to work on, where you can change global settings specific to the song (such as tempo, or multi-FX settings), transfer songs into and out of your Woovebox, and arrange songs by chaining patterns. You can always return to this mode by holding down the value button and then performing a short press (a short tap) on the 16/A8/Song key.

Your Woovebox can hold 16 user songs to work on. To select a song to work on, hold play and press 1-16 to select Song 1-16. The song number you selected will be reflected in the top display.

Before you continue, you may wish to change the volume in your headphones to a comfortable level. To do so, hold play and turn the value knob. This level is remembered next time you turn on your Woovebox. Playing the "keyboard" by pressing 1-16 will sound the instrument of the last track selected at different pitches. If you just booted up the device, this track will be the chord ("Cd") track by default.

If the song you selected is not empty, you can press play to hear the song being played back as it was arranged. Though this Getting Started guide will not go into arranging song fragments just yet, turning the value knob to the right (without holding anything else down), will let you start arranging the song, cycling through song fragments. Turning the value knob to the left (again, without holding anything else down), will ultimately return you to the global song settings we started off at.

Tracks

Your Woovebox allows you to work with 16 tracks per song. A track can be thought of as a member of a band or orchestra. This "member" will be in charge of one of 16 instruments/synthesizers (for example a bass or synthesizer lead), or in charge of a sample kit (for example a drum kit, or a number of pre-defined vocal chant samples, etc.). With one exception, all tracks are monophonic (meaning they can only sound one note at a time) or paraphonic (meaning they can sound multiple notes at a time, starting at the same time).

The one exception is the chord ("Cd") track. It is the only track that is 4-voice polyphonic, allowing for complex chords. The 16 tracks of your Woovebox are helpfully labeled on the front of the device, to the left to each 1-16 key. Their fixed designations are;

1"Cd" / "chord"; must be used for chord progressions, and is the only track that is 4-voice polyphonic
2"bs" / "bass"; suggested use for basslines3"Ld" / "lead"; suggested use for lead melodies4"Ar" / "arpeggio"; suggested use for arpeggios5"Ki" / "kick"; suggested use for synthesized kickdrums6"Sn" / "snare"; suggested use for synthesized snares7"hh" / "hi-hat"; suggested use for synthesized hi-hats8"Pc" / "percussion"; suggested use for general percussion such as a crash cymbal or synthesized clap9"A1" / "all-purpose/auxiliary 1"; anything extra you might need in your song10"A2" / "all-purpose/auxiliary 2"; anything extra you might need in your song11"A3" / "all-purpose/auxiliary 3"; anything extra you might need in your song12"A4" / "all-purpose/auxiliary 4"; anything extra you might need in your song13"A5" / "all-purpose/auxiliary 5"; anything extra you might need in your song14"A6" / "all-purpose/auxiliary 6"; anything extra you might need in your song15"A7" / "all-purpose/auxiliary 7"; anything extra you might need in your song16"A8" / "all-purpose/auxiliary 8"; anything extra you might need in your song

With the exception of the Cd track, all tracks are interchangeable and their behavior or role in your song can be re-assigned. Or in other words, the designations for all tracks (except Cd) are merely "serving suggestions"; you do not have to put a hi-hat on the hh track if you don't want to, and you can reconfigure the track's behavior if needed. So, if you wish, you can put a bass or arpeggio on the hh track instead.

Selecting track 1 through 16 (Cd through A8) for editing, is done by holding down the value knob and performing a long press on the desired button corresponding to the track. Alternatively, for selecting track 1 through 13 (Cd through A5) a short press can be used as well (note that a short press on A6, A7, or A8 invokes the Sampler, Live Mode or Song Mode respectively, rather than switching to the A6/A7/A8 tracks, therefore A6/A7/A8 are only accessible via a long-press).

Tracks may be configured to play real-time synthesized sounds, play samples, modify incoming audio, modify the delay buffers, or may be silent altogether (for example when driving other external music gear through MIDI).

Tracks may also be configured to follow the playing chord ("Cd" track) chord, or adapt to the chosen key/scale.

Lastly, please note that DSP resource limitations may start to apply if A6, A7 and A8 have audio playing at the same time as Cd through A5.

Pages

Each track has multiple pages, where different aspects of the track can be modified. These pages are accessed by turning the value knob left or right. Turning the value knob to the right will scroll through the other pages, covering everything from sound design to side chaining and patch presets.

Sequencer

The "left-most" page is always the Sequencer ("Seq") page, where you can edit the steps of the currently selected pattern. This is the most important page where a pattern's steps can be modified in detail. This page shows which steps currently have notes assigned to them via the LED grid, whereas most other pages show which 1-16 buttons have parameters behind them that you can modify.

Note that in pages other than the Sequencer ("Seq") pages, holding down write temporarily reveals which steps currently have notes assigned to them, as if you were on the Sequencer ("Seq") page. Letting go of write will once again show which 1-16 buttons have parameters behind them that you can modify.

Patch (and selecting presets)

The "right-most" page is the Patch ("Pach") page, where you can select preset patches and - through the context menu - perform things like backing up patches, or copying them to other tracks.

Holding any button with lit up LED and then turning the value knob, will load a preset. Note that you can, for example, load a Ki (kick category) patch onto, say your 3/Ld/Lead track if you so wish.

Auditioning

Where applicable, pressing the 1-16 buttons will sound the instrument of the current (or last) selected track. For example, if the current (or last) selected track was the lead (Ld) track, pressing 1-16 will allow you to play the lead sound. You can audition tracks like this in track editing mode, as well as in Song mode.

However, note that there is a subtle, but important difference in the way the sound is triggered, depending on what you are editing in the interface. The difference is the following;

•If you are on the Sequencer page ("Seq") of a track, notes will sound immediately as soon as you press 1-16. As soon as you release the pressed 1-16 key, the note will stop sounding. This behavior is much like pressing the key on a piano, and is the best way to jam along with your song or come up with riffs, melodies and motifs. This behavior is also identical to playing in Live mode.
•Everywhere else, notes will only sound once you release (let go) of 1-16, and will play for the duration of the programming note length (set by holding write and turning the value knob). This behavior may feel "laggy" when trying to jam along with your composition, but is useful when combined with changing parameters when, for example, sound designing a patch. Note also, that if you have the programming note length set to "0.St" (zero length), then any patch that has an attack and decay level of 0 will not sound anything at all (as the step/note length is applied to the sustain component only).

TIP: While editing a track, you can quickly switch between the Sequencer page ("Seq") and another page by pressing the value knob.

Patterns

If a Track is the member of a band or orchestra, then a pattern is a page of sheet music that each member is reading. Each track can play up to 16 unique patterns, and patterns may be chained if needed. A pattern itself is made up of a maximum of 16 steps. When a pattern plays (press the play button to start or stop playing), each track steps through these steps

While playing, you will see a blinking "play head" to indicate the position, running from left to right, top to bottom. As your Woovebox steps through the pattern, any steps that the play head encounters that contain notes (lit up) are played. Any steps that do not contain a note (not lit up) are ignored at that moment in time.

By default most tracks step through their patterns at a speed of 16 steps (e.g. 4 beats, or one bar) per pattern. The overall speed is determined by the "BPM" setting in the Song settings. However it is possible to modify this speed (see "b.div"/"BPM div" parameter on the "Pttn" page) on a per-pattern basis.

Note that, by default, the Chord track is the only exception; the default settings cause the pattern to be stepped through at a slower pace (there "b.div"/"BPM div" is set to divisor of 4 instead of 1, so that a a pattern now takes 4x as long to be stepped through, compared to the other tracks.

It is also possible to change the length of a pattern to something smaller than 16 steps (see "Pt.Ln"/"Ptrn Len" parameter) on a per-pattern basis. Changing the length of a pattern can create complex and interesting sounding polymeters, and can even allow for different time signatures within one song.

At first glance, 16 patterns with only 16 steps each per track may appear to be extremely limiting. However, as you will discover, the Woovebox is all about doing more with less; your device comes with a vast arsenal to quickly transform riffs and motifs into complex and interesting arrangements. In fact, it is possible (and common) to create full, complex sounding songs with just one pattern per track.

As opposed to many other grooveboxes, patterns (and their chains) should be considered to be living mostly in isolation until they are mixed and matched in Song (fragments) or Live (scenes) mode.

Steps

Programming notes into steps

Play the note you wish to record and let it go, then hold write. If you are not on the Sequencer ("Seq") page of the track, the LED grid will change temporarily to show the steps as if you were on the Sequencer ("Seq") page until you let go of the Write again. Now press 1-16 to put the note you played into step 1-16

You can set multiple steps this way to the same note, as long as you hold write. Any step you program will blink for the duration you hold write.

Note that you can further make already existing steps with notes blink as well. As long as you are holding write, any steps that are blinking can be edited in more detail; while still holding Write, press the Value button to cycle through a number of editable step attributes. The attributes can, while still holding the write key, be modified by turning the value knob. For non-chord tracks (e.g. anything that is not the "Cd" track) the editable attributes are;

•'Note'; the pitch at which the note or sample should play.•'SlcE'; slice - the slice number 1-16 of a sample kit. Note that this option is only available if "bEhv"/"trak BEhv" (Track Behavior) on the track's "Glob" page is set to "SmPK" (sample kit).
•'LEn'; length - the length of the note in steps.•'VELo'; velocity - how loud the note should play. Default velocities are 100 out of 127, where 0 is silent.
•'WhEn'; when - a condition that needs to be met before this step plays.
•'do'; do - a special way the note or slice should be played when the 'WhEn' condition is met.
•'ShFt'; shift - a micro-timing value from 0 to 99, indicating how late the note should play from 0 (no shift) to 99 (nearly at the same time next step begins), with 50 being right in between the current step and next step.

For the "Cd" track-only, the editable attributes are;

•'Root'; the chord's root note
•'LEn'; the length of the chord in steps.•'VELo'; velocity - how loud the chord should play. Default velocities are 100 out of 127, where 0 is completely silent.•'Chrd'; chord - the type of chord
•'Inv'; inversion - what, if any, chord inversion should be played
•'ShFt'; shift - a micro-timing value from 0 to 99, indicating how late the note should play from 0 (no shift) to 99 (can be considered playing the next note "early"), with 50 being right in between the current note and next note.

Modifying one or more steps

On the Sequencer ("Seq") page of the track, hold the step you wish to modify until it starts to blink. While still holding the step, press the Value button to cycle through a number of editable step attributes. The attributes can, while still holding the write key, be modified by turning the value knob.

It is also possible to select multiple steps for modification; while still holding the first step, hold Write, then let go of the step; the step will keep blinking. The interface will now behave as if you just programmed a new note, and any other steps can be selected via the same mechanism under "Programming notes into steps".

Note once again that modifying steps this way only works on the Sequencer ("Seq") page of the track; selection on other track pages is not possible.

Deleting notes from steps

To delete a step's note, hold write and press 1-16 for any step that has a note assigned to it (e.g. is lit up).The step will no longer be lit and the note data for this step erased. You can do this for multiple steps for the duration you hold write.

Real-time recording notes to steps

It is possible to real-time record a performance into the Woovebox. Simply hold the write button and press play to start recording.

The recording will be automatically quantized, meaning the notes you play will be automatically "pulled" towards the nearest step so that minor timing issues in your playing are eliminated.

Regular step editing is also still available during playback and recording, so notes recorded in real-time can be edited in real-time as well. Note that note modification (through holding the Write key) will cause the current pattern to loop, allowing you to better gauge the modifications you made in context of the entire pattern being played across all tracks.

TIP: You can chain multiple patterns together with "ch.ne"/"chn.next" parameter to record more than 16 steps at once.

Changing a setting or parameter

Your Woovebox is a deeply powerful device with many settings, controls and parameters for you to tweak.

Each 1-16 key corresponds to one of sixteen parameters, controls or settings. As such, you can access up to sixteen parameters, controls or settings at once (e.g. per page).

The nature and amount of parameters accessible to you, depend on the mode (Track, Sampler, Live, Song) and the selected page ("GLob", "Osc1", "Osc2", etc.). For example, a track's "GLob" (for Global) page gives you access to 16 parameters, all pertaining to the currently selected track.

Not all pages have 16 parameters; on most pages, a 1-16 key that has an accessible parameter underneath, has its corresponding LED lit up.

•To learn the current value of a setting, control or parameter, simply perform a short-press on 1-16. For example, while in Song mode and on the "GLob" page, pressing 1/Cd will show you the current tempo in Beats Per Minute (BPM).
•To get a longer eight-character description of the parameter, perform a long-press on 1-16.•To change a parameter or setting, hold down 1-16 and turn the Value knob left or right.

In most modes and on most mode pages, short-pressing 1-16 will also audition the currently active track as soon as you let go of 1-16. This will quickly help you determine how your parameter tweak may have changed the sound. If this is undesirable, perform a long-press on 1-16, waiting until the eight-character description comes up. Then tweak your parameter after the eight-character description has come up, to avoid auditioning the sound.

Workflow and Song Mode

Generally, a workflow will look like;

1Select a song to work on2Select a track to work on3Select a pattern to work on4Record, edit notes5Audition your track's pattern, in the context of other patterns, in the context of a live performance (in live mode), or in the context of your song (in song mode)6Go to 2

Once you are happy with your individual patterns on their individual tracks, you should ideally create full songs out of them by creating "fragments" out of them in song mode, or create "scenes" out of them in live mode for live performances. Getting to grips with Song mode in particular, is key to getting the most out of your Woovebox.

Finally, you can export any songs (but not individual patterns) you made as .WAV audio files and .MID MIDI files via Wooveconnect.

Refer to the quick start tutorial for a super quick introduction to making your first song. It is highly recommended to go through the tutorial at least once.

Quick start tutorial and video

This is a super quick tutorial for making your first complete song, demonstrating a full workflow, without going too deep just yet.

Boot up

Turn on your Woovebox without touching the write or play touch buttons (as their sensitivity is calibrated during boot).

Once your Woovebox has booted up, you will be dropped into Song ("SG") mode.

The song number you last worked on, is automatically restored ("SG.01" through "SG.16"). The chord (Cd) track will play a chord/chime, to let you know boot up has completed. This chime also gives you an audible identifier of the song that is loaded (as you may recognize the timbre of the instrument).

Note that, when you switch away from Song mode, you can return to Song mode at any time, by holding the value button down and then short-pressing ("short-pressing" meaning, holding down for less than one second) 16/A8/SONG.

If you accidentally scrolled past the "GLob" or "EFct" pages and the display reads "Fr.xx" (fragment number xx) or "DJ.xx" (DJ FX for fragment xx), you can use the value knob (turn left) to scroll back to to the "SG.xx", "GLob" (or Efct) pages.

Set output volume

Hold play and turn the value knob left or right to set the output volume to a comfortable level. Press 1-16 to audition a sound to help you hear the difference in output levels. Your preferred output level will be saved on the next auto save event. You can adjust the output volume like this anywhere in the interface.

Select and initialize a song

If you wish to select a different song to work on, you can do so by holding play and pressing 1-16 to select song 1 through 16.

If you wish to start over with the currently selected song by resetting and clearing it, you can do so through the context menu;

•Hold write and short-press the value knob to cycle through the options until you find the "Init rand" menu item.•Once found, long-press ("long-pressing" meaning, holding down for more than one second) the value knob to action the item. The song will be cleared and your Woovebox will report "Init oK".•Release write to exit the context menu.•All patterns are cleared, and tracks are initialized with random (but typically appropriate) presets to get you started quickly.

Note that these context menus are available in a number of different places around the Woovebox UI, and they all work in the same way. Please take note of how to use them, as they often hide handy features, functions and short-cuts.

Set song BPM

Set your new song's tempo (in beats-per-minute or "BPM"). In this case, the BPM setting lives under the 1/Cd button in Song (Global/"Glob") mode. To change a parameter or setting like "BPM";

•Hold the button 1-16 that corresponds to a parameter or setting; if a button has a lit up LED, then it has a parameter you can change.•Still holding the 1-16 button, turn the value knob left or right to change the parameter or setting's value.

To discover more parameters and the values they are set to, simply short-press any 1-16 buttons that have their corresponding LED lit. Any buttons that do not have their LED lit, do not have a setting or parameter associated with them. To get a longer, 8-character description of a parameter or setting, long-press the button.

Changing parameters like this is done the exact same way across the entire UI. It provides you up to 16 parameters to change at once and avoids menu-diving.

For now, it is enough to know that your BPM setting flows through to the tempo and speed of many things. From the delay effects to LFO rates, and even automatic time stretching of samples; a change in BPM will never throw off any tempo-based aspects of your song. Everything adjusts automatically.

Switch to the kick drum track

Let's program our first sounds.

Hold the value button and short-press the 5/Ki button. This switches to the kick drum (Ki) track. By default, it switches to pattern 01 of the track and shows the first page of the track; the sequencer ("SEq") page.

In the same way, you can switch to other tracks (hold value + short-press 1/Cd-13/A5), to the Sampler (hold value + short-press 14/A6/SAMPLER), to Live mode (hold value + short-press15/A7/LIVE), or back to Song mode (hold value + short-press16/A8/SONG) where we were before. Track A6-A8 are accessible by holding value + long-pressing (instead of short-pressing!) 14/A6-16/A8, for a total of 16 tracks.

Now, on the Ki track, playing key 1-16 will sound variations of the currently selected kick drum patch.

If you don't like the current kick drums, you can select another preset on the patch ("Pach") page. To do so, turn the value knob to the right until you find the last page ("Pach"). Then, just like we did when setting the song's BPM before, hold one of the keys with lit up LEDs and turn they knob to select a different "setting" (preset). Kick presets live under the 5/Ki button, but you are free to select, say, a Lead (3/Ld) preset on the kick track if you wish. You may even randomize a brand new patch through the context menu ("rand Pach").

Now return to track's sequencer("SEq") page. There is a convenient shortcut to the "Seq" page; on any page other than the "Seq" page, short-press the value knob. Short-press the value knob again to quickly go back to the page you came from. This shortcut allows you to quickly flip back and forth between the "Seq" page and some other page. Give it a try.

Know that if you're new to music production or sound design, you can mostly just ignore the pages between the "SEq" page and the "Pach" page for now. Just have fun with the basics first!

Program a kick drum

Make sure you're on the sequencer page ("Seq" ) of the kick track's pattern 01 ("01.Ki SEq"). The sequencer ("SEq") page is where events (notes, chords, sample triggers) are added, edited or deleted.

Press play to start playing our empty kick drum track pattern. You will hear nothing right now, but while playing, you will see a blinking "play head" to indicate the position, running from left to right, top to bottom. As your Woovebox steps through the pattern, any steps that the play head encounters that contain programmed kick drum (LED lit up) are played back. Any steps that do not contain a kick drum (LED off) are ignored at that moment in time. Press play again to stop playback.

Right now, no kick drums are recorded at all, so playing the pattern back will not produce any sound; let's change that. Program a simple four-to-the floor pattern like so;

•Press any of the 1-16 keys to audition the kick drum you want to program. Depending on the selected kick drum patch, the kick drum may sound different depending on the key you press.•Once you auditioned a kick drum you like;•hold write and short-press key 1•still holding write, short-press key 5•still holding write, short-press key 9•and still holding write, short-press key 13.

You have now programmed your chosen kick drum sound onto steps 1, 5, 9 and 13; a standard "four-to-the-floor" pattern.

If you made a mistake and wish to delete a kick drum from a step, simply hold write and short-press the key corresponding to the step (LED lit up) you wish to clear (LED no longer lit up).

Now press play to hear your kick drum pattern being played back to you. Press play again to stop the playback. You may have also noticed that pressing play caused your song to be automatically saved ("SAVE xxx", where xxx is the current battery level %).

Feel free, of course, to add or remove kick drums as you please.

Using the randomizer

If you lack inspiration or need to get something going quickly, your Woovebox comes with an "intelligent" randomization feature. On the "SEq" page, choose and action the "rand Pttn" context menu option. Your Woovebox will now create a random pattern that fits the intended behavior ("bEhv" under 7/hh on the track's "Glob" page) of the track. In this case it will provide you with a plausible kick pattern, but in case of other track behaviors, it will provide you with chords, melodies, basslines, etc. as appropriate. For more information, see the randomization section.

Switch to the chord track

Just like we did for the kick drum, hold the value button and short-press the 1/Cd button to switch to the chord (Cd) track.

The use of the chord track is not strictly mandatory, however strongly recommended to make the most of your Woovebox' capabilities; not in the least because it is a very quick, easy and versatile way of creating a professional sounding song. As you get to know your Woovebox better, you are encouraged to learn more about chords and how to relate to music production on your Woovebox.

You don't need to know any music theory however, to start using the chord track; all its functions work just as well if you play or produce music solely "by ear". If you are new to music production, then all you need to know is that a chord progression (cycling between two or more chords) tells a story; it creates tension and resolution over time, creating a strong interest and evoking emotions with your audience. The sort of story you want to tell and the types of emotions (happy, sad, mysterious, etc.) you wish to evoke, are controllable by the chord types, as well as the key your song is in. Many pop songs use 4 chords, some use only 2. There are no set rules, however there are some guidelines that may help.

Like the BPM (tempo) setting, the chords that are playing, flow through to many other aspects, from the way your bass lines and arpeggios play, to sound design and chord lock effects.

Set the root note and scale (optional)

If scales and keys are not something you wish to bother with at this time, it is enough to know for now that your song will be in the C major/A minor key by default (e.g. if you imagine a piano keyboard, all "good sounding" notes will be the white notes). If, however, you wish to set up a custom scale/key for your song, you can do so through the following;

•Switch to Song mode (hold value knob and short-press 16/A8/SONG).
•The root note can be set by changing the parameter under key 2/bs. Changing the parameter works in exactly the same way we changed the song's tempo (BPM); hold the key, and turn the value knob.
•The scale or mode can be set by changing the parameter under key 3/Ld.

For an in-depth look at scales and modes, and how they relate to music production on your Woovebox, please see the scales and modes section.

Program a chord progression

Just like we did for the kick drum, make sure you are on the "sequencer" ("SEq") page of the chord track. Switching between tracks will usually keep the page you are on the same. So if you were on the "sequencer" page for the kick drum track, switching to the chord track will also immediately put you on the "sequencer" page for the chord track.

The chord track is the only "special" track that works a little different to all the other (2/bs-16/A8) tracks. Whereas you normally record single notes, hits or sample triggers to all the other tracks, the chord track records chords (e.g. multiple notes at once that sound harmonically interesting). The chord track is the only track that is truly polyphonic, meaning it is the only track that can play multiple, complex voices at the same time (your Woovebox is also capable of reproducing some limited paraphonic sounds/chords on the other tracks however).

Unique to the chord track, rather than single notes, two sets ("types") of 7 chords are laid out across the 1-16 keys;

•Press key 1, 2, 3, (but not 4/CdLo), 5, 6, 7, 8 to hear the seven different chords at your disposal for chord type 1.•Press key 9, 10, 11, (but not 12/CdHi), 13, 14, 15, 16 to hear the seven different chords at your disposal for chord type 2.•Holding key 4/CdHi or 12/CdLo while turning the value knob to cycle through the different types of chords available for chord type 1 and 2 respectively.

Get a feel for how the chords work and sound, and how you can cycle through the different types. Doing so, you may already find a chord progression (say a sequence of four chords) you really like. And of course, select a different preset if you don't like the timbre.

For your convenience (or if you are not that familiar with the different types of chords and how they sound), the chord track's two sets of chord types start off in "diatonic" ("diat tri" and "diat 7th") types (unless you are using a more exotic key/scale that does not permit this). Without delving too deeply into music theory, it is enough to know that the seven diatonic chords from the harmonic foundation of Western music, provide the basis for creating progressions and harmonies that sound cohesive within your song's chosen key/scale. Or in other words, just playing key 1, 2, 3, (but not 4), 5, 6, 7, and 8, you will notice that you can construct most popular chord progressions with just those seven keys!

As with our kick drum track, the pattern starts off empty. So playing the pattern back will not produce any chord sounds yet; let's change that. Assuming you wish to program a 4-chord progression;

•Play (choose) your first chord.•Hold write and short-press key 1. The chord you played is now programmed to play when the play head encounters step 1; the LED at step 1 is now lit up.•Play your second chord.•Hold write and short-press key 5.•Play your third chord.•Hold write and short-press key 9.•Play your fourth chord.•Hold write and short-press key 13.

Just like with the kick drum track, if you made a mistake and wish to delete a chord from a step, simply hold write and short-press the key corresponding to the step you wish to clear. You may also edit one or multiple programmed steps in-depth by holding a step, but let's keep things simple for now.

And just with the kick drum track (or any track for that matter!), if you cannot find immediately find a chord progression you like, you can also have your Woovebox generate a random one for you; on the "SEq" page choose and action the "rand Pttn" context menu option.

Once you have your chord progression entered, press play to hear your chord progression being played back to you. Press play again to stop the playback. You will once again notice that pressing play caused your song to be automatically saved.

You may also have noticed that, by default, the chord track steps through its programmed steps four times as slow as the other tracks. That's because the BPM divisor (b.div under 1/Cd on the Pttn page) for its patterns defaults to 4. You are, of course, free to change this as you please.

Program a bassline

Switch to the bass track (2/bS) and use the value knob to scroll to the "GLob" page. Press key 4 to verify the state of the "FLW.C" ("FLLW Chrd") parameter is set to "root". If it is not set to "root", change it to "root" by holding down key 4 and turning the value knob.

We just made sure that any bass notes that we will be programming, will be adapted to the chord being played. Specifically, any bass notes we will be programming, will be automatically transposed to the nearest root note of the chord that is being played (other adaptations are also available).

We can verify this behavior by scrolling to the sequencer ("Seq") page and playing the currently selected bass patch by pressing the 1-16 keys. You should hear the bass keeps playing the same note, with only the octave changing at most. The screen verifies this as well; you should see the same note being played, with only the number (indicating the octave) changing.

You may also notice the chord track faintly playing in the background every time you hit a bass note on the 1-16 keys. It is playing the last played chord and helps with giving you some harmonic context when programming more complex patterns or chains of patterns. If you wish to just hear the bass by itself, you can solo a track by "switching" to the track you are already on. In other words, hold value and short-press the 2/bS track (since we're currently on the bS track). The screen will display "SoLo On". Perform the action again to cancel the soloing ("SoLo Off").

Program some notes like we did for the kick drum. If you don't have anything particular in mind, even some random locations will do to get you started. Thanks to the "FLW.C" "root" setting, your Woovebox will transpose the notes to always "sound good".

And just like on the kick drum and chord tracks, the "rand Pttn" option is available in the "SEq" page's context menu if you need inspiration.

Once you have some bass notes, hit play. You will now notice how the bassline is automatically adapted to the chord that is playing. Indeed, if you now went back to the chord track and completely changed the chords, the bassline will still sound "good" and coherent. Your Woovebox is able to do this with all parts; basslines, melodies, arpeggios etc. It is even able to pitch-quantize LFOs. It is one of the reasons why creating complex songs and sounds on the Woovebox is so quick and immediately rewarding.

Program an arpeggio

Switch to the arpeggio (4/Ar) track and use the value knob to scroll to the "Glob" page. Press key 4 to verify the state of the "FLW.C" ("FLLW CHRD") parameter is set to "CLS.A". If it is not set to "CLS.A", change it to "CLS.A" by holding down key 4 and turning the value knob.

Similar to what we did to the bassline, we just made sure that any arpeggio track notes will be adapted to the chord being played. However rather than adapting the notes to the root note of the playing chord, the notes will be "pulled" to the closest note that the chord consists of.

Arpeggios are short runs and are typically not as long as full patterns (e.g. they are typically not as long as, say, our bassline pattern). Use the value knob to scroll to the "Pttn" page. Change the "Pt.Ln" ("Ptrn Len" / pattern length) parameter under the 2 key. It is likely set to 16 (playing all of the 16 steps of the pattern). However, for an arpeggio, typically short runs are more suitable. Set "Pt.Ln" to, for example, 5 or 7.

Switch to the Sequencer page (use the value knob to scroll to it, or use the shortcut by pressing the value knob). Press play. You should now see the play head cycle between the first few steps, rather than all 16 for this track.

All we need to do now, is add some notes. Again, some random notes will do for now if you wish. You will notice you are not able to program notes past the reduced pattern length; the device will respond with ("Chng Len"; aka "please change pattern length first!").

Press play to hear your newly created arpeggio. Once again you will notice the arpeggio is automatically adapted to the chord being played.

Feel free to experiment with different lengths. You will likely notice that prime numbered lengths (for example lengths of 3, 5, 7 or 11) produce the most interesting, intricate and complex arpeggio runs (think IDM, Trance), while numbers that are divisible by two or three (2, 4, 6, 8, 9, 10, 12 etc.) sound more conventional (think 80s pop, Synthwave).

Arpeggio tracks are perfect for conditional triggering and modification, allowing you to create incredibly intricate arpeggiated runs.

Build up your song with more elements

Now that you have familiarized with programming notes and patterns, you can start building up your track.

For example, put a hi-hat (7/hh) on the off-beat (steps 3, 7, 11, 15) add a snare (6/Sn) or clap on steps 5 and 13.

Editing an event in detail

An essential part of creating patterns and songs on your Woovebox that sound polished, is conditional triggering and modification.

As the name implies, conditional triggering and modification allows you to trigger and modify notes and samples under certain conditions.

Using conditional triggering and modification, you can create complex, changing patterns from just 16 steps that keep your listener's interest. Some common examples include;

•Complex arpeggios
•Drum fills•Hi-hat ratchets•Snare rolls
•Bass or lead slides•Crash cymbal triggering on every nth pattern playthrough•Note pitch changes

To demonstrate, let's add a crash cymbal that only plays once every 4 pattern playthroughs on the 'Pc' ("percussion") track;

Switch to the 'Pc' track by holding the value knob and pressing 8/Pc, and select the 'Seq' page.

By default, the 'Pc' track should be initialized with a crash cymbal (you can of course also select something else from the 'Pach' preset page).

Just like programming the other tracks, audition the note or slice you wish to use, and then hold write and press key 1-16 corresponding to the step you wish to program the note or slice on. Usually a crash cymbal sounds on the first beat, so let's program it onto step 1.

Editing an event in detail

Keep holding the write button (or if you already let get, hold the step you just programmed until it starts blinking). While the step is blinking, press the value knob to cycle through the various step parameters you can change. Here you can change things like note pitch ("note"), velocity ("VELo"), length ("LEn"), micro-timing/shift ("ShFt") and various other things depending on the type of track and its specified behavior. Change a parameter's value/selection by turning the value knob.

The two parameters that are relevant to conditional triggering are 'when' and 'do'.

The 'when' parameter specifies the condition that needs to be satisfied. By default that condition is 'awys' (always), meaning that your Woovebox will always trigger the step. For our crash cymbal we would like the 'when' condition to something that only triggers once every four playthroughs. With the 'when' parameter selected, turn the value knob until you have found the '1of4' condition.

You can now let go of the step and/or write button you were holding. Press play to hear the crash cymbal play just once and remain silent for the following three other playthroughs.

You are, of course, not just limited to simple "yes/no" playback triggering. The 'do' parameter allows for a great number of modifications that can be made conditionally. We won't list them all here, however it is useful to note that there are generally two versions of each conditional modification. The ones with a dot at the end (for example "SldE." vs "SldE") won't playback at all unless the condition is met. The ones without the dot at the end will play back normally if the condition is not met, and will play back the step modified if the condition is met.

Chaining patterns

The Woovebox is all about "doing more with less". As such you are highly encouraged to prioritize creating variation through chord sequences, conditionals and using Song mode, rather than using more patterns.

However, in cases where a single 16-step pattern is too limiting (for example if you wish to record a long solo or melody), you can chain up to 16 patterns to create longer patterns, up to one long sequence of 256 steps per track.

You can change the current pattern by holding play and pressing 1-16 to change to pattern 1-16.

To chain the current pattern to another, use the value knob to switch to the "Pattern" ("Pttn") page. Change the "Chain next" ("Ch.ne") parameter under the 3/Ld key to reflect the pattern number that should play next after the current pattern. "SELF" means that the next pattern to be played should be the current pattern itself, which is the default behavior.

If you wish to repeat a pattern in a chain a few times before it switches to the next pattern, you can specify how many times the pattern should be repeated by changing the "chain repeat" ("Ch.rP") parameter under the 4/Ar key to reflect the amount of times you wish to loop the pattern before it switches to the next.

Via the context menu on the pattern ("Pttn") page of every track, you can also automate all this using the "Chn" item. While holding write (and before actioning the item), you can use turning of the value knob to choose how many patterns you wish to chain. This "sub-option" selection mechanic is used for various context menu items. Items that have sub-options, show a quick "running" light, indicating you can use the value knob for more sub-options.

Keyboard octave and transposing tracks

Many producers can struggle with melodies and motifs. This can particularly be the case, if playing a keyboard or music theory is not your forte.

Many instruments and grooveboxes offer scale-dependent keyboard layouts. This makes sure that whichever note you strike always sounds "good" in the context of the song that is playing. So does your Woovebox;

•Switch to the lead (3/Ld) track.•Scroll to the 'GLob' page.•Press key 4 to verify set the state of the "FLW.C" ("FLLW Chrd") is set to "LGL" or modify the setting so that it is.•Switch back to the "Seq" page.•Press play.

Now jam along with your song. You will notice whichever key you strike tends to sound "good" in the context of the song. That is because "FLLW Chrd" is set to allow all "legal" notes that the key/scale permits. This helps you play "in key" no matter what.

However, your Woovebox can take this one step further and assist with finding melodies and motifs even quicker;

Because it knows which chords are playing at which moment in time, the device can dynamically modify the keyboard to play different notes at different times in your song's playback when you press them. It can do so in a way that fits the chord that is currently playing. To engage this mode, set "FLW.C" one of the "trs" modes.

This opens up a new way of playing and improvising melodies; improvisation and playing becomes rhythm and timing-based rather than having to know and anticipate the chords that are playing. Indeed, it is possible to create a complex melody from an "island" of just a few 1-16 keys. A very welcome bonus is that this way of playing is uniquely suited to live playing a small device like the Woovebox with just a few buttons.

To get a feel for how this works, set FLW.C to one of the "trS" modes, and then keep playing the same one or two (or more) keys while playing back your song. Find keys that sound good to you. As soon as the chord changes, you should notice the keys playing entirely different notes that similarly also tend to sound "good".

Keyboard octave and transposing tracks

To change the octave of the 1-16 keyboard as you play it, hold write, then also hold play and turn the value knob to change octaves up or down.

All tracks can also be transposed any number of semitones. So if you feel any track or instrument sounds better in your song at a lower or higher octave after recording/programing it, simply transpose the track by 12 semitones up or down. You can do so by scrolling to the the 'GLob' page, and changing the 'trSP' parameter under the 2/bS key; e.g. hold down key 2/bs key and turn the value knob left or right (note that you can instead also change any programmed notes individually to play at a lower octave, or use the coarse detune setting for the oscillators - 3/Ld/'det.C' on the 'Osc1'/'Osc2' pages - to play an octave lower).

Recording live

If you have found a melody and wish to record it live while playing, rather than programming the notes, you can do so.

There are two live recording modes available; overdub ("dub") and punch in/out ("pnch")

•Overdub keeps any steps intact as the playhead moves over them, only erasing previous step entries if they are being replaced.•Punch in/out starts erasing every step the playhead moves over, but only starts doing that once your play the first note ("punch in"). It is particularly useful for re-doing takes or portions thereof.

To start recording, hold write and short-press play for overdub mode. Still holding write, short-press play once more for punch in/out mode. As soon as you let go of write, a count-in starts. After the count-in, your Woovebox will start playing the current pattern chain, and any keys you press will be recorded to the nearest available step.

While recording, pressing play stops the recording behavior (but not the playback). Pressing play a second time will stop the playback as normal.

By default micro timing is recorded along with your performance. So if you were a little late or early, this is recorded for each recorded step. You can manually adjust the micro timing (shift/"shft" parameter when editing an event). In order to adjust timing while recording or after recording, you may also;

•Add "groove" non-destructive swing or progressive quantization to steps (9/A1/"Grve" on a track's GLob page)•Engage auto-quantize while live recording (hold write, then long-press play to toggle it on or off)•Apply "destructive" quantization ("qant pttn") via the Sequencer ("SEq") page's context menu

The payoff - creating a song with Song mode

The entire Woovebox workflow is centered around full song production; the device comes with a powerful dedicated Song mode where everything comes together. Learning how to use Song mode is key to getting the most out of your Woovebox and is key for the device to "click".

Learning the Woovebox, you should endeavor to move on from just playing simple loops in track editing/sequencer mode as soon as possible.

Song mode is so powerful (and rewarding to use!), that even with just a single 16-step pattern per track, you can create an entire compelling song that keeps the listener's attention start-to-finish.

Once you have created one or more patterns, elements and motifs across multiple tracks, you can sequence build-ups of these by mixing and matching them over time in Song mode (hold value knob and short-press 16/Song).

Once in Song mode ("SG.xx"), turn the value knob to the right until the screen reads "Fr.01". You can now create and edit the first "fragment" (fragment 01) of your song. If your screen happens to read "DJ.01" instead of "Fr.01", you are editing the DJ FX for that fragment. In that case, "switch" to Song mode once more (e.g. hold value knob and short-press 16/Song) to toggle between fragment editing mode and DJ FX editing mode.

When your song plays, the Woovebox steps through a number of sections ("fragments"). Fragments have a length (specify length by holding write and turning value knob) for which they play and/or effect the tracks you specify. No length (e.g. length equals zero) and no tracks enabled (e.g. all LEDs are off), means that song playback should end at that fragment ("End").

For example, to start fragment 01 off with the kickdrum and the bassline, hold write and short-press 5/Ki and then, while still holding write, short-press 2/bS.

The kick and bass tracks now light up, indicating that they will play for the duration of this fragment. You have just started your first song. On the next fragment you could, for example have your hi-hats come in. On the next, your arpeggio. On the next your lead, etc.

Much like editing steps on tracks, in a Song mode fragment, you can hold an active (e.g. "lit up") track and edit a number of settings. These settings include;

•The pattern ("Pttn") number that the track should play (note that pattern chains and playthroughs are still respected!)•Behavior ("Behv") (play, mute, fade in/out, and various filter, pitch, and gater effects)•Chord lock ("CdLk") determines whether the track should respond to chord changes
•Retrigger Pattern ("retr.Pt") applies a special step retriggering pattern, allowing for retrigger-based variations - useful for fills and stutters or more radical transformations of notes

Use the context menu to insert, delete or clone fragments.

You can even apply advanced DJ effects, or dynamically record the playing fragment to a buffer, which you can then start looping in subsequent fragments.

TIP: To work on individual tracks with a fragment's configuration (e.g. your selection of mutes and pattern numbers for the different tracks) intact, hold value and long-press to switch to any track. This lets you tweak parts of your song as it is played by a fragment. Note that this mechanic also works from Live mode, where this can be used to quickly mute different tracks.

More

This short tutorial only scratches the surface of your Woovebox' capabilities. Please see the rest of the support and documentation to get to know your Woovebox, sound design, mastering and music production. Enjoy!

Tempo and BPM

Your song's BPM setting (1/Cd on the Song's GLob page) flows through to the tempo of many things, from LFO speed divisors to the delay effects; a change in BPM will never throw off any tempo-based aspects of your song.

Everything syncs up throughout the synthesis engine, pattern playback and song mode. This makes your songs sound like well-planned, evolving pieces of music. Sync-locked LFOs can help with subtle build-ups, textures and "ear candy".

Settings that govern tempo (such as LFO rates) or length, often have their settings expressed in terms of sixteenth note steps ("St" or "S") or, alternatively, bars ("b"). A bar is 16 steps.

Pattern length and BPM divisor

By changing the BPM speed divisor and pattern length, you can influence both the speed by which a pattern is played back, as well as change its time signature.

This allows you to have a pattern play back over a longer period than just four beats per pattern, or use different time signatures to the rest of the patterns, tracks or songs.

You can configure the BPM speed divisor ('b.div' under 1/Cd) and pattern length ('Pt.Ln' under 2/bS) on the 'Pttn' page for each of the 16 patterns for each of the 16 tracks.

Changing time signatures and pattern lengths is an incredibly useful tool to spice up track, particularly when leaving the chord track to play 4/4 . For example, try setting pattern length to 12 for a bassline or supplemental lead track. This yields a 12/16 (e.g. 6/8 time signature).

Using other values (particularly prime numbers such 11 and 13) can also yield very interesting, complex and evolving bass lines, melodies or rythm tracks when contrasted with other "regular" 4/4 (e.g. length 16) tracks in your song. You should notice that these tracks will sound complex and interesting, but never quite random. Think more IDM than Avant-garde.

Tracks

Your Woovebox allows you to work with 16 tracks per song. A track plays a single instrument (for example a bass or synthesizer lead) or a "kit" (for example a drum kit, or a number of pre-defined vocal chant samples, etc.).

With one exception, all tracks are monophonic (meaning they can only sound one note at a time) or paraphonic (meaning they can sound multiple notes at a time, starting at the same time). The one exception is the chord ("Cd") track. It is the only track that is 5-voice polyphonic, allowing for complex chords. The 16 tracks of your Woovebox are designated;

1"Cd" / "chord"; must be used for chord progressions, and is the only track that is 5-voice polyphonic
2"bs" / "bass"; suggested use for basslines3"Ld" / "lead"; suggested use for lead melodies4"Ar" / "arpeggio"; suggested use for arpeggios5"Ki" / "kick"; suggested use for synthesized kickdrums6"Sn" / "snare"; suggested use for synthesized snares7"hh" / "hi-hat"; suggested use for synthesized hi-hats8"Pc" / "percussion"; suggested use for general percussion such as a crash cymbal or synthesized clap9"A1" / "all-purpose/auxiliary 1"; anything extra you might need in your song10"A2" / "all-purpose/auxiliary 2"; anything extra you might need in your song11"A3" / "all-purpose/auxiliary 3"; anything extra you might need in your song12"A4" / "all-purpose/auxiliary 4"; anything extra you might need in your song13"A5" / "all-purpose/auxiliary 5"; anything extra you might need in your song14"A6" / "all-purpose/auxiliary 6"; anything extra you might need in your song15"A7" / "all-purpose/auxiliary 7"; anything extra you might need in your song16"A8" / "all-purpose/auxiliary 8"; anything extra you might need in your song

With the exception of the Cd track, all tracks are interchangeable and their behavior or role in your song can be re-assigned. Or in other words, the designations for all tracks (except Cd) are merely "serving suggestions"; you do not have to put a hi-hat on the hh track if you don't want to, and you can reconfigure the track's behavior if needed. So, if you wish, you can put a bass or arpeggio on the hh track instead. You can have fifteen sample kits, or fifteen snares if you so desire.

Tracks may further be configured to play real-time synthesized sounds, play samples, modify incoming audio, modify the delay buffers, or may be silent altogether (for example when driving other external music gear through MIDI).

Pages

Each track has a number of pages (use the value knob to scroll through these pages) where different aspects are configured;

•'Seq' (Sequencer); sequencing/editing of notes/steps across sixteen patterns (hold play + press 1-16 to switch pattern).•'Pttn' (Pattern); pattern-specific settings such as length, playback speed and chaining.•'GLob' (Global); global settings for the track, such as volume, FX sends, synthesis algorithm, and transpose options.•'Osc1'/'Osc2' (Oscillator 1 and 2); settings for oscillator 1 and 2.•'AMPL' (Amplitude); amplitude-related settings for oscillator 1 and 2, such as ADSR timings/levels and amplitude LFOs.•'FLtr' (Filter); filter-related settings such as filter selection, cut-off frequency, resonance, ADSR timings/levels and filter frequency LFO.•'Pich' (Pitch); pitch-related settings such as pitch quantization, portamento/glide, and pitch LFOs.•'Pan' (Panning); panning-related settings such as left/right balance, auto panning, auto start position, and pitch-to-stereo spread.•'dyna' (Dynamics); dynamics-related settings such as compressor/limiter, gating and side-chaining.•'Pach' (Patch); patch management-related functionality such as selection of presets, copying and dumping of patches (via context menu).

Note that different context menu options may be available depending on the page.

Glob Gobal page

The 'GLob' (global) page configures some important global behaviors for the track.

Furthermore, a 'rais' context menu option raises the master volume perceptually by reducing the master volume ('M.VoL'/'MStr VoL' under the 1/Cd key) of all other tracks by the percentage specified (by turning the value knob while the option is selected). Use this feature if you need to raise the volume of one track beyond 127 (max).

1. M.voL Master Volume

Specifies the master volume as a value between 0 (silent) and 127 (max).

Please note that two special options in the context menu ('rais MVL1' and 'rais MVL8') are available that reduce the volume of all other tracks by 1 and 8 respectively, so that the current track will sound comparatively louder in the mix.

2. trSP Transpose

Specifies the amount of semitones (12 semitones is one octave) to transpose any recorded notes before they play.

3. ALGo Synthesis Algorithm

Specifies the algorithm by which the oscillators for this track should be combined. Please see the sound design section for more information.

4. FLW.C Follow Chord

(track 2/bS - 16/A8 only)

Specifies how (if at all) notes (played or sequenced) on this track should be adapted and transformed to follow the currently playing ('Cd' track) chord. The following settings are available;

•'OFF' (off); no adaptation of sequenced notes is performed. Live played notes are adapted to always be in the key and scale of the song.
•'LGL'. Sequenced and live played notes are adapted to always be in the key and scale of the song. A common use case is live recorded or improvised leads.•'trS.1'. Sequenced and live played notes are transposed by the root note of the chord, and then adapted to always be in the key and scale of the song. A common use is generative leads.•'trS.2'. Sequenced and live played notes are transposed by the second note of the chord, and then adapted to always be in the key and scale of the song. A common useis generative leads.•'trS.3'. Sequenced and live played notes are transposed by the second third of the chord, and then adapted to always be in the key and scale of the song. A common use is generative leads.•'CLS.3'. Sequenced and live played notes are adapted to always play the note of the current chord that is closest in pitch - only the first three notes of the chord are considered. A common use case is arpeggios.
•'CLS.A'. Sequenced and live played notes are adapted to always play the note of the current chord that is closest in pitch. A common use case is arpeggios.•'root'. Sequenced and live played notes are adapted to play the root note of the current chord. A common use case is basslines.•'tr.1.5'. Sequenced and live played notes are transposed by the root note of the chord, and then adapted to always be in the key and scale of the song, inclusive of the root + 7 semitones("fifth") as a valid note. A common use is generative leads.•'tr.2.5'. Sequenced and live played notes are transposed by the second note of the chord, and then adapted to always be in the key and scale of the song, inclusive of the root + 7 semitones("fifth") as a valid note. A common use is generative leads.•'tr.3.5'. Sequenced and live played notes are transposed by the third note of the chord, and then adapted to always be in the key and scale of the song, inclusive of the root + 7 semitones("fifth") as a valid note. A common use is generative leads.•'CL.3.5'. Sequenced and live played notes are adapted to always play the note of the current chord or root + 7 semitones("fifth") that is closest in pitch - only the first three notes of the chord are considered. A common use case is arpeggios.
•'CL.A.5'. Sequenced and live played notes are adapted to always play the note of the current chord or root + 7 semitones ("fifth") that is closest in pitch. A common use case is arpeggios.•'roo.5'. Sequenced and live played notes are adapted to play the root note or root + 7 semitones ("fifth") of the current chord. A common use case is Motown-style basslines.

Please note that chord adaptation is ignored if track behavior ('bEhv') is set to "sample kit" ('SMP.K'). The follow chord override option is not available on the chord ('Cd') track itself.

5. QLty Spectral Quality

The Spectral Quality ('Qlty') parameter controls a novel signal processing feature that further optimizes DSP usage, that can also be used for creative effects.

In order to save DSP resources, your Woovebox analyses the precise spectral resolution a sound requires during real-time synthesis of a voice. In cases where a lower spectral resolution can be used without impacting the fidelity of the sound, your Woovebox can automatically do so to free up DSP resources. You can also manually force any track to render at a lower resolution, either to save DSP resources or for creative effects.

When automatically determined ('auto') by your Woovebox, the loss in resolution is not (or barely) audible - a little bit like how MP3s trade storage space for audio fidelity. Any resolution reduction determined by 'auto' will only kick in when DSP usage exceeds 70%.

•'auto'; lets your Woovebox decide the required spectral resolution to faithfully reproduce the track's patch, saving DSP resources where it can. Tracks with 'auto' set will always render at full ('FuLL') quality spectral resolution when exported via Wooveconnect. Any resolution reduction determined by 'auto' will only kick in when DSP usage exceeds 70%.•'FuLL'; forces full spectral resolution allocation for the track, preventing loss of resolution at all times (e.g. even when that loss would not be perceptible).
•'50'; forces 50% spectral resolution allocation for the track. Depending on the patch, the effect may be noticeable in the very high frequencies and when applying filters and saturation. In that case, this mode can also be used as a creative effect. Tracks with '50' set will render precisely as audible (e.g. with reduced spectral resolution allocated) when exported to .WAV via Wooveconnect.•'25'; forces 25% spectral resolution allocation for the track. Depending on the patch the effect may be noticeable in the high and mid frequencies, as well as when applying filters and saturation. In that case, this mode can also be used as a "lo-fi" creative effect (see lo-fi section). Tracks with '25' set will render precisely as audible (e.g. with reduced spectral resolution allocated) when exported to .WAV via Wooveconnect.

Good candidates for aggressive manual spectral quality optimization are usually patches and sounds with little to no high frequencies playing, such as basses and bass drums.

Please note that you can at any time see how many spectral quality-reduced voices are playing by putting 'DSP Info' (Song globals page) into 'Spec Qual' mode (see Understanding DSP Load section).

6. bS.tr Bass Transponse

(1/Cd track only)

For triad chords (e.g. chords that use less than four notes at the same time), it is possible to specify what your patch should do with the "left over" fourth voice. The fourth voice can simply not play, or can play an extra bass note one (1) or two (2) octaves lower.

7. bEhv Track Behavior

Track behavior defines how a track should behave in terms of playback, UI, functionality, stem rendering, file management and more.

For example, tracks set to "sample kit" ('SMP.K') will disable chord adaptation and enable a slice number parameter, allowing up to 16 slices to be triggered per track.

The following behavior types are available;

•'Bass' (bass); this track behaves like a bassline.
•'Lead' (lead); this track behaves like a lead.
•'Arpg' (arpeggio); this track behaves like and arpeggio.
•'Kick' (kick); this track behaves like a kick.
•'Snre' (snare); this track behaves like a snare drum.
•'HiHt' (hi-hat); this track behaves like a hi-hat.
•'Perc' (percussion); this track behaves like a percussive instrument.
•'SmpL' (sampled instrument); this track behaves like sampled instrument
•'SmpK' (sample kit); this track behaves like a sample kit
•'Slnt' (silent); this track is silent•'MuIn' (multi-instrument); this track is configured to allow per-step switching between instruments. See also multi-instrument mode.

8. MIdI MIDI channel assign

Specifies the MIDI channel that the track should send its note and controller messages on.

9. grvE Groove

The Groove parameter allows you to introduce swing (via "positive" values), or progressively quantize (via "negative" values).

Swing, also known as shuffle, is a rhythmic feel or groove commonly used in music production. It involves altering the timing and emphasis of notes within a musical phrase, creating a distinctive "swung" or "shuffled" rhythm. The offbeat notes are delayed or played slightly behind the beat, while the downbeat notes are played on the beat.

The swing value represents a percentage of travel between the current step and the next step. E.g. a value of 0 will never play any notes belated (swing off), while a value of 50 will play a "swung" note - exactly between two steps.

Swing can greatly influence the overall mood and character of a musical piece. It adds a human touch, injecting a sense of groove, spontaneity, and playfulness into the music. The degree of swing can vary, ranging from a subtle, barely perceptible swing to a pronounced and exaggerated swing feel, depending on the style and context of the music.

Please note that swing is applied on a 4/4 basis, even if your pattern has a non-4/4-compatible length. The result, when applied to polyrythms (for example a bassline with an odd pattern length) can sound be extremely "groovy" yet complex, making the impression a complex bassline was programmed or played live.

Quantization on the other hand, pulls notes that are recorded off-grid (e.g. have a "shift" value that is non-zero) closer to the nearest 16th note.

10. bt.Cr bit crush

This parameter specifies how many least significant bits should be set ("crushed") to 0, assuming a 16-bit (~96db) nominal dynamic range. Loss of bit-depth will become audible for most humans at around 7 or 8 bits of loss. The effect is typically audible as a quintessential "hiss" in quieter parts of an instrument's decay or release stage, and evokes the quintessential sound of early 80s digital drum machines.

Two types of bit crushing can be selected; pre- or post-filter/clip distortion. Negative values are applied pre-filter/distortion (signified by a 'Pr' prefix). Positive values are applied post-filter/distortion (signified by a 'Po' prefix).

For example, to faithfully emulate the sound of vintage digital audio reproduction circuitry, the bit crushing should be performed right after oscillator synthesis and before filtering, effects, dynamics or mixing.

Please note that bit crushing should not be confused with sample rate reduction (for which your Woovebox provides two other settings/methods).

11. SatU Saturation

Progressively saturates louder parts of the signal, making them sound subtly "warmer" and analog. Please note that this setting interacts with the filter in order to more faithfully emulate analog-style filters (a found in the 303, MS20, etc.) when applied.

12. dist Distortion

Specifies one of two types of distortion and an amount;

•Positive amounts specify a traditional clipping distortion; the signal is multiplied by 2^value ("two to the power of the value") and any signal above a threshold is truncated to that threshold. These values are indicated by a 'CL' prefix.
•Negative amounts specify a fold back distortion; the signal is multiplied by 2^value ("two to the power of the value") and any signal above a threshold is folded back to below the threshold. These values are indicated by a 'Fo' prefix.

13. rEvb Reverb Send

Specifies the amount of signal to send to the reverb unit.

14. chor Chorus Send

Specifies the amount of signal to send to the chorus unit.

15. dely Delay Send

Specifies the amount of signal to send to the primary delay unit.

16. dly2 Delay 2 Send

Specifies the amount of signal to send to the secondary delay unit.

Please note that having this parameter set to non-zero in any of your tracks, will activate the secondary delay unit, incurring a modest DSP resource penalty.

Patterns / Pttn page

If a Track is the member of a band or orchestra, then a pattern is a page of sheet music that each member is reading. Each track can play up to 16 unique patterns, and patterns may be chained if needed. A pattern itself is made up of a maximum of 16 steps. When a pattern plays (press the play button to start or stop playing), each track steps through these steps

As opposed to many other grooveboxes, patterns (and their chains) should be considered to be living mostly in isolation until they are mixed and matched in Song (fragments) or Live (scenes) mode.

By default most tracks step through their patterns at a speed of 16 step (e.g. 4 beats, or one bar) per pattern. The overall speed is determined by the "BPM" setting in the Song settings. However it is possible to modify this speed (see "b.div"/"BPM div" parameter on the "Pttn" page) on a per-pattern basis. Note that, by default, the Chord track is the only exception; the default settings cause the pattern to be stepped through at a slower pace (there "b.div"/"BPM div" is set to divisor of 4 instead of 1, so that a a pattern now takes 4x as long to be stepped through, compared to the other tracks.

It is also possible to change the length of a pattern to something smaller than 16 steps (see "Pt.Ln"/"Ptrn Len" parameter) on a per-pattern basis. Changing the length of a pattern can create complex and interesting sounding polymeters, and can even allow for different time signatures within one song.

Pattern playback can further be influenced by mute/unmute cycling (MU.Ln/UM.Ln/M.U.OF); this can make a a track's playback cut in and out rhythmically. Song mode fragments can further influence how a pattern is played back by applying re-triggering effects and automation.

Given the vast amount of ways patterns and their constituent steps can be modified and transformed, it is possible (and common) to create full, complex sounding songs with just one pattern per track.

To working on a pattern (on a track's Seq page) in the context of other patterns (or their chains), setting up Song fragments or Live mode scenes is highly recommended first.

1. b.div BPM Divisor

Governs the speed at which the track steps through this pattern. The specified value is a divider, meaning that the default speed (as determined by the "BPM" setting in the Song settings) of is divided by the value; a divisor of 1 yields the default speed, a divisor of 2 doubles the time it takes for the pattern to be played, a divisor of 4 quadruples the time it takes for the pattern to be played and so on.

2. Pt.Ln Pattern Length

Sets the pattern length in steps. Changing the length of a pattern can create complex and interesting sounding polymeters, and allow for different time signatures within one song. Note that changing this setting to below 16, will cause the higher-numbered steps to become unavailable for programming and modification. Trying to program or modify these steps will result in a "ChnG Len" error message, asking you to change the Pt.Ln setting first.

3. Ch.ne Chain Next

Specifies the pattern number that should be played after playing this pattern. A pattern number of "Self" will just keep playing the current pattern into infinity.

4. Ch.rP Chain Repeat

Specifies how many times the current pattern should play before switching to the next pattern (as specified by Ch.nE).

5. Mu.Ln Mute length

Specifies how long the pattern should mute for, measured in 16th notes (irrespective of a pattern's BPM division setting!). If 'Mu.Ln' + 'UM.Ln' does not the equal pattern length (Pt.Ln), interesting polymeters can eventuate. Muting starts when the pattern starts playing, but this position can be offset by the 'Mu.Of' (mute offset parameter) to be later or earlier.

6. UM.Ln Unmute length

Specifies how long the pattern should unmute for, measured in 16th notes (irrespective of a pattern's BPM division setting!). If 'Mu.Ln' + 'UM.Ln' does not the equal pattern length (Pt.Ln), interesting polymeters can eventuate. Unmuting happens after the amount of muting steps specified by 'Mu.Ln' have elapsed.

Note that the time when 'Mu.Ln' begins, can be offset to occur later or earlier using the 'Mu.Of' (mute offset) parameter. This means that it is possible to change 'Mu.Of' in such a way that a pattern starts off unmuted instead; simply set 'Mu.Of' equal to negative 'Mu.Ln'.

7. M.U.OF Mute unmute offset

Unmute shifts/'offsets' the time, measured in 16th notes (irrespective of a pattern's BPM division setting!), when the 'Mu.Ln' period begins (later or earlier). This, for example, means that it is possible to change 'Mu.Of' in such a way that a pattern starts off unmuted instead; simply set 'Mu.Of' equal to negative 'Mu.Ln'.

8. Pt.rS Playthrough Counter Reset Behavior

Specifies how playthroughs should be counted for conditional behavior upon triggering of this pattern number (for example in a fragment or scene). The following options are available;

•'AUdb' (audible); playthrough counters are only reset if the fragment or scene was not explicitly playing this pattern number before (for example if the track has now become audible, or if a scene or fragment has a different patter number programmed than the last).
•'Awys ' (always); playthrough counters are always reset when this pattern number is encountered, including as part of a pattern chain. Use this option if you are using repeats (4/Ar/Ch.rP Chain Repeat) and need to make sure that the playthrough counter is reset at the start of the repeats.

9. FLW.C Follow Chord Override

Specifies an optional override of the global ('GLob' page) follow chord (4/FLW.C) behavior.

The same settings are available as for the global "follow chord" parameter with the exception 'GLob' indicating no override (use global setting on 'GLob' page)

•'GLob' (no override); use global setting on 'GLob' page.
•'OFF' (off); no adaptation of sequenced notes is performed. Live played notes are adapted to always be in the key and scale of the song.
•'LGL'. Sequenced and live played notes are adapted to always be in the key and scale of the song. A common use case is live recorded or improvised leads.•'trS.1'. Sequenced and live played notes are transposed by the root note of the chord, and then adapted to always be in the key and scale of the song. A common use is generative leads.•'trS.2'. Sequenced and live played notes are transposed by the second note of the chord, and then adapted to always be in the key and scale of the song. A common useis generative leads.•'trS.3'. Sequenced and live played notes are transposed by the second third of the chord, and then adapted to always be in the key and scale of the song. A common use is generative leads.•'CLS.3'. Sequenced and live played notes are adapted to always play the note of the current chord that is closest in pitch - only the first three notes of the chord are considered. A common use case is arpeggios.
•'CLS.A'. Sequenced and live played notes are adapted to always play the note of the current chord that is closest in pitch. A common use case is arpeggios.•'root'. Sequenced and live played notes are adapted to play the root note of the current chord. A common use case is basslines.•'tr.1.5'. Sequenced and live played notes are transposed by the root note of the chord, and then adapted to always be in the key and scale of the song, inclusive of the root + 7 semitones("fifth") as a valid note. A common use is generative leads.•'tr.2.5'. Sequenced and live played notes are transposed by the second note of the chord, and then adapted to always be in the key and scale of the song, inclusive of the root + 7 semitones("fifth") as a valid note. A common use is generative leads.•'tr.3.5'. Sequenced and live played notes are transposed by the third note of the chord, and then adapted to always be in the key and scale of the song, inclusive of the root + 7 semitones("fifth") as a valid note. A common use is generative leads.•'CL.3.5'. Sequenced and live played notes are adapted to always play the note of the current chord or root + 7 semitones("fifth") that is closest in pitch - only the first three notes of the chord are considered. A common use case is arpeggios.
•'CL.A.5'. Sequenced and live played notes are adapted to always play the note of the current chord or root + 7 semitones ("fifth") that is closest in pitch. A common use case is arpeggios.•'roo.5'. Sequenced and live played notes are adapted to play the root note or root + 7 semitones ("fifth") of the current chord. A common use case is Motown-style basslines.

Please note that chord adaptation is ignored if track behavior ('bEhv') is set to "sample kit" ('SMP.K'). The follow chord override option is not available on the chord ('Cd') track itself.

14. Md.Pc MIDI Patch

(firmware 2817+) Selects MIDI Patch change number that should be sent out when this pattern starts playing. Note that the number is 1-based.

15. Md.bM MIDI Patch bank MSB

(firmware 2817+) Selects MIDI Patch bank MSB that should be accompany the patch change that is sent out when this pattern starts playing.

16. Md.bL MIDI Patch bank LSB

(firmware 2817+) Selects MIDI Patch bank LSB that should be accompany the patch change that is sent out when this pattern starts playing.

Context menu

The following options are available on the 'Pttn' page;

•'Chn nEXt' (chain next pattern) chains next pattern to the current pattern (see also chaining patterns in the quick start guide).•'Chn 4' (chain next three patterns) chains the next three patterns to the current pattern for a total chain of four patterns (see also chaining patterns in the quick start guide).•'Chn 8' (chain next seven patterns) chains the next seven patterns to the current pattern for a total chain of eight patterns (see also chaining patterns in the quick start guide).•'Chn ALL' (chain all sixteen patterns) chains the next fifteen patterns to the current pattern for a total chain that comprises the full available sixteen patterns (see also chaining patterns in the quick start guide).•'StEP LEn' (step length in milliseconds) shows how long one step takes on this track in milliseconds. Step length is influenced by the song's BPM setting and the current pattern's BPM divider ('b.div'/'bPM div') under the 'Pttn' page's 1/Cd key. Knowing this value is important for tempo-based sound design and synchronization such as envelope times, hold times, or for timing external gear (for example delay effects, LFO rates, etc.).

Live pattern recording

If you prefer to record your patterns by live playing, you can do so in two ways.

•"dub" (hold write + short press play, count-in starts when releasing write) keeps steps that were already recorded.
•"Pnch" (hold write + short press play x 2, count-in starts when releasing write) deletes steps that were already recorded as soon as the play head reaches them, but only after you have recorded your first step, aka "auto punch-in".

The "dub" mode is useful for adding more notes to a pattern or pattern chain, while the "Pnch" mode is useful for re-doing parts of a pattern or pattern chain, erasing the previous take (or part of a take).

By chaining up to 16 patterns, you can record up to 256 steps at once.

Recording is cancelled by pressing the play button, but playback will continue. Pressing the play button again will stop playback as normal.

Quantization and fixing timing mistakes

By default, any "off-grid" timing of played steps is preserved as much as possible in the recorded steps via a step's 'shft' parameter (0 to 99), meaning that if you were early or late, the recorded note will reflect this.

There are three ways to quantize your recordings;

1Auto-quantize during live recording; hold write + long press play to toggle auto-quantize on or off.2Gradual quantize non-destructively using the Groove/'grve' function (under 9/A1 on a track's 'GLob'/global page) and specifying a "negative" value (as indicated by a 'Q'). This progressively pulls the playback of anything on the track towards the start or end of a step. This allows you to perfectly dial in the groove/feel of the part your recorded and gradually tighten up its playback non-destructively.3Quantize destructively (permanently) by using the 'qant' option in the sequencer ('Seq') page context menu. This function is available for individual patterns ('Pttn') or a pattern's full chain ('Chn').

Conditional triggering and modification

An essential part of creating songs on your Woovebox that sound polished and varied, is conditional triggering and modification.

As the name implies, conditional triggering and modification allows you to trigger or affect notes and samples under certain conditions. Using conditional triggering and modification, you can create complex, changing patterns from just 16 steps that keep your listener's interest. Some common examples include;

•Complex arpeggios
•Drum fills•Hi-hat ratchets•Snare rolls
•Bass or lead slides•Crash cymbal triggering on every nth pattern playthrough•Note pitch changes•Strumming chords up and down

Conditional triggers consist of two settings that are set when editing a step. These settings are;

•'when'; specifies the condition that needs to be satisfied. By default that condition is 'awys' (always), meaning that your Woovebox will always trigger the step.
•'do'; specifies the modification that should be made if the condition is satisfied.

Example

Conditional triggering and modification of steps turns a boring, repetitive single-bar pattern into an interesting, evolving tapestry that plays out over many bars.

This example demonstrates a typical use of conditional triggering and modification. Note that this example refrains from demonstrating how pattern playback can further be influenced by chord auto transpose, punch-in/out, and song mode trigger patterns. It is however worth noting that a single 16-step pattern can easily be sufficient for an entire song once combined with forementioned features.

Without conditional triggering

A 16-step (1-bar) pattern with all elements in place.

With conditional triggering and modification

The exact same basic 16-step (1-bar) pattern with all elements being conditionally triggered and modified.

Demonstrated are pitch changes (note and octave), pitch induced timbre modifcations (hi-hat), pitch slides/portamento, ratchets (fast retriggering), conditional muting and prime-numbered intervals.

'When' conditions

The following 'when' conditions are available;

•'Awys'; Always perform the 'do' modification•'1of2'; Perform the 'do' modification once on the first playthrough of the pattern, then skip the modification one playthrough, and so on•'1of3'; Perform the 'do' modification once on the first playthrough of the pattern, then skip the modification two playthroughs, and so on•'1of4'; Perform the 'do' modification once on the first playthrough of the pattern, then skip the modification three playthroughs, and so on•'1of5'; Perform the 'do' modification once on the first playthrough of the pattern, then skip the modification four playthroughs, and so on•'1of8'; Perform the 'do' modification once on the first playthrough of the pattern, then skip the modification seven playthroughs, and so on•'1o16'; Perform the 'do' modification once on the first playthrough of the pattern, then skip the modification fifteen playthroughs, and so on•'PTh2'; Skip the first playthrough and perform the 'do' modification on the second playthrough, and so on•'PTh3'; Skip the first two playthroughs and perform the 'do' modification on the third playthrough, and so on•'PTh4'; Skip the first three playthroughs and perform the 'do' modification on the fourth playthrough, and so on•'PTh5'; Skip the first four playthroughs and perform the 'do' modification on the fifth playthrough, and so on•'PTh8'; Skip the first seven playthroughs and perform the 'do' modification on the eighth playthrough, and so on•'PT16'; Skip the first fifteen playthroughs and perform the 'do' modification on the sixteenth playthrough, and so on•'1an3'; Perform the 'do' modification on the first and third playthrough of the pattern•'1an4'; Perform the 'do' modification on the first and fourth playthrough of the pattern•'1an5'; Perform the 'do' modification on the first and fifth playthrough of the pattern•'1an8'; Perform the 'do' modification on the first and eighth playthrough of the pattern•'1a16'; Perform the 'do' modification on the first and sixteenth playthrough of the pattern•'Pr25'; There is a random 25% chance the 'do' modification is performed•'Pr50'; There is a random 50% chance the 'do' modification is performed•'Pr75'; There is a random 75% chance the 'do' modification is performed

The used random values for the Pr25, Pt50 and Pr75 conditions can be made to repeat in exactly the same way every time a song is played back. This can be accomplished by setting the random seed parameter ('SEEd') under 7/hh on a song's global page ('GLob') to a number between 1 and 32767. When this parameter is set to 'off', true randomness is used otherwise, and every song playback will be different.

'Do' step modifications

The following 'do' step modifications are available;

•'Play'; Simply play the step.•'SLdE'; Play with 303-style pitch slide from the previous played pitch. Play normally if condition is not satisfied
•'SLdE.'; Play with 303-style pitch slide from the previous played pitch. Do not play step at all if condition is not satisfied.•'Acnt'; Play with 303-style accent (increased velocity, slightly opened up filter). Play normally if condition is not satisfied•'Acnt.'; Play with 303-style accent (increased velocity, slightly opened up filter). Do not play step at all if condition is not satisfied.•'SlAc'; Combine 'SldE' and 'Acnt'. Play normally if condition is not satisfied.•'SlAc.'; Combine 'SldE' and 'Acnt'. Do not play step at all if condition is not satisfied.•'Up1o'; Play step one octave higher. Play normally if condition is not satisfied.•'Up1o.'; Play step one octave higher. Do not play step at all if condition is not satisfied.•'SlU1'; Combine 'SldE' and 'Up1o'. Play normally if condition is not satisfied.•'SlU1.'; Combine 'SldE' and 'Up1o'. Do not play step at all if condition is not satisfied.•'AcU1'; Combine 'Acnt' and 'Up1o'. Play normally if condition is not satisfied.•'AcU1.'; Combine 'Acnt' and 'Up1o'. Do not play step at all if condition is not satisfied.•'SAU1'; Combine 'SLdE', 'Acnt' and 'Up1o'. Play normally if condition is not satisfied.•'SAU1.'; Combine 'SLdE', 'Acnt' and 'Up1o'. Do not play step at all if condition is not satisfied.•'Dn1o'; Play step one octave lower. Play normally if condition is not satisfied.•'Dn1o.'; Play step one octave higher. Do not play step at all if condition is not satisfied.•'Sld1'; Combine 'SldE' and 'Dn1o'. Play normally if condition is not satisfied.•'Sld1.'; Combine 'SldE' and 'Dn1o'. Do not play step at all if condition is not satisfied.•'Acd1'; Combine 'Acnt' and 'Dn1o'. Play normally if condition is not satisfied.•'Acd1.'; Combine 'Acnt' and 'Dn1o'. Do not play step at all if condition is not satisfied.•'SAd1'; Combine 'SLdE', 'Acnt' and 'Dn1o'. Play normally if condition is not satisfied.•'SAd1.'; Combine 'SLdE', 'Acnt' and 'Dn1o'. Do not play step at all if condition is not satisfied.•'TStp'; Tape stop effect (samples only). Play normally if condition is not satisfied.•'TStp.'; Tape stop effect (samples only). Do not play step at all if condition is not satisfied.•'TStr'; Tape start effect (samples only). Note that sample remains perfectly synced with BPM. Play normally if condition is not satisfied.•'TStr.'; Tape start effect (samples only). Note that sample remains perfectly synced with BPM. Do not play step at all if condition is not satisfied.•'Rvse'; Play in reverse (samples only). Play normally if condition is not satisfied.•'Rvse.'; Play in reverse (samples only). Note that sample remains perfectly synced with BPM. Do not play step at all if condition is not satisfied.•'NoDl'; Play with delay FX send temporarily canceled. Play normally if condition is not satisfied.•'NoDl.'; Play with delay FX send temporarily canceled. Note that sample remains perfectly synced with BPM. Do not play step at all if condition is not satisfied.•'PLFO'; Play with pitch LFO engaged. Play normally if condition is not satisfied. Only has an effect if 'P.L.tr' on the Osc1/Osc2 pages is set to 'Cond'. Can be used for vibrato effects.
•'PLFO.'; Play with pitch LFO engaged. Play normally if condition is not satisfied. Only has an effect if 'P.L.tr' on the Osc1/Osc2 pages is set to 'Cond'. Do not play step at all if condition is not satisfied. Can be used for vibrato effects.•'ALFO'; Play with amplitude LFO engaged. Play normally if condition is not satisfied. Only has an effect if 'A.L.tr' on the Osc1/Osc2 pages is set to 'Cond'. Can be used for tremolo effects.
•'ALFO.'; Play with amplitude LFO engaged. Play normally if condition is not satisfied. Only has an effect if 'A.L.tr' on the Osc1/Osc2 pages is set to 'Cond'. Do not play step at all if condition is not satisfied. Can be used for tremolo effects.•'Up1n'; Modify note pitch up by one note on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Up1n.'; Modify note pitch up by one note on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Up2n'; Modify note pitch up by two notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Up2n.'; Modify note pitch up by two notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Up3n'; Modify note pitch up by three notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Up3n.'; Modify note pitch up by three notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Up4n'; Modify note pitch up by four notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Up4n.'; Modify note pitch up by four notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Up5n'; Modify note pitch up by five notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Up5n.'; Modify note pitch up by five notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Up6n'; Modify note pitch up by six notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Up6n.'; Modify note pitch up by six notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Dn1n'; Modify note pitch down by one note on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Dn1n.'; Modify note pitch down by one note on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Dn2n'; Modify note pitch down by two notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Dn2n.'; Modify note pitch down by two notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Dn3n'; Modify note pitch down by three notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Dn3n.'; Modify note pitch down by three notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Dn4n'; Modify note pitch down by four notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Dn4n.'; Modify note pitch down by four notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Dn5n'; Modify note pitch down by five notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Dn5n.'; Modify note pitch down by five notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'Dn6n'; Modify note pitch down by six notes on selected scale (before any auto-transpose). Play normally if condition is not satisfied.•'Dn6n.'; Modify note pitch down by six notes on selected scale (before any auto-transpose). Do not play step at all if condition is not satisfied.•'X 2'; Play step and re-trigger once more within the same step duration. Play normally if condition is not satisfied.•'X 2.'; Play step and re-trigger once more within the same step duration. Do not play step at all if condition is not satisfied.•'X 3'; Play step and re-trigger another two times within the same step duration. Play normally if condition is not satisfied.•'X 3.'; Play step and re-trigger another two times within the same step duration. Do not play step at all if condition is not satisfied.•'X 4'; Play step and re-trigger another three times within the same step duration. Play normally if condition is not satisfied.•'X 4.'; Play step and re-trigger another three times within the same step duration. Do not play step at all if condition is not satisfied.•'X 5'; Play step and re-trigger another four times within the same step duration. Play normally if condition is not satisfied.•'X 5.'; Play step and re-trigger another four times within the same step duration. Do not play step at all if condition is not satisfied.•'X 6'; Play step and re-trigger another five times within the same step duration. Play normally if condition is not satisfied.•'X 6.'; Play step and re-trigger another five times within the same step duration. Do not play step at all if condition is not satisfied.•'X 7'; Play step and re-trigger another six times within the same step duration. Play normally if condition is not satisfied.•'X 7.'; Play step and re-trigger another six times within the same step duration. Do not play step at all if condition is not satisfied.•'X 8'; Play step and re-trigger another seven times within the same step duration. Play normally if condition is not satisfied.•'X 8.'; Play step and re-trigger another seven times within the same step duration. Do not play step at all if condition is not satisfied.•'GUp2'; Play step and re-trigger once more at a higher note (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.
•GUp2.'; Play step and re-trigger once more at a higher note (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GUp3'; Play step and re-trigger two times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GUp3.'; Play step and re-trigger two times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GUp4'; Play step and re-trigger three times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GUp4.'; Play step and re-trigger three times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GUp5'; Play step and re-trigger four times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GUp5.'; Play step and re-trigger four times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GUp6'; Play step and re-trigger five times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GUp6.'; Play step and re-trigger five times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GUp7'; Play step and re-trigger six times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GUp7.'; Play step and re-trigger six times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GUp8'; Play step and re-trigger seven times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GUp8.'; Play step and re-trigger seven times more at a ever higher notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•GDn2'; Play step and re-trigger once more at a lower note (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•GDn2.'; Play step and re-trigger once more at a lower note (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GDn3'; Play step and re-trigger two times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GDn3.'; Play step and re-trigger two times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GDn4'; Play step and re-trigger three times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GDn4.'; Play step and re-trigger three times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GDn5'; Play step and re-trigger four times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GDn5.'; Play step and re-trigger four times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GDn6'; Play step and re-trigger five times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GDn6.'; Play step and re-trigger five times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GDn7'; Play step and re-trigger six times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GDn7.'; Play step and re-trigger six times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'GDn8'; Play step and re-trigger seven times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Play normally if condition is not satisfied. Only available on non-chord tracks.•'GDn8.'; Play step and re-trigger seven times more at a ever lower notes (as determined by "FLW.C") within the same step duration. Do not play step at all if condition is not satisfied. Only available on non-chord tracks.•'StU1'-'StU8'; Strum the notes of a chord track chord up. Only available on chord track. For StUn,the speed between strummed notes in milliseconds is calculated as 3750 / song BPM / n.
•'Std1'-'Std8'; Strum the notes of a chord track chord up. Only available on chord track. For Stdn, the speed between strummed notes in milliseconds is calculated as 3750 / song BPM / n.

Chords

Chords play an important role not just in music in general, but particularly in the way your Woovebox generates notes and plays back your patterns. So much so that your Woovebox has a dedicated chord ('Cd') track.

A chord is a combination of musical notes played simultaneously. It creates a harmonious sound that adds depth and complexity to music.

A chord progression is the order in which chords are played in a piece of music. It's like a roadmap of the harmony in a song. Different chords can create different feelings and emotions, and by arranging them in a specific order, songwriters can guide the listener through a journey of different emotions.

As such, a great way to start off a Woovebox song (besides programming a rhythm), is to program two or more chords to create a chord progression. The Woovebox makes it very easy to come up with chord progressions of your own, or can even provide you with random (but appropriate sounding) progressions.

More importantly for your Woovebox, chords set the tone for the rest of your song's other elements/tracks (such as basslines, melodies, arpeggios, paraphonic parts and even things like "ear candy" and effects). These elements can all be made to react and adapt to the chords being played in various musical ways, for example via the "FLW.C" ("follow chord") parameter on the "GLob" page of any non-chord tracks. It is one of the many ways, your Woovebox does more with less.

The chord track (1/Cd) is the only "special" track that works a little different to all the other (2/bs-16/A8) tracks. Whereas you normally record single notes, hits or sample triggers) to all the other tracks, the chord track records chords (e.g. multiple notes at once that sound harmonically interesting). The chord track is the only track that is truly polyphonic (up to five notes), meaning it is the only track that can play multiple, complex voices at the same time (your Woovebox is also capable of reproducing some more limited paraphonic sounds per track - the chords these tracks play are, however, informed by the 'Cd' track and can only consist of 4 notes max).

Unique to the chord track, rather than single notes, two sets ("types") of seven chords are laid out across the 1-16 keyboard;

•Press key 1, 2, 3, (but not 4), 5, 6, 7, 8 to hear the different chords at your disposal for chord type 1.•Press key 9, 10, 11, (but not 12), 13, 14, 15, 16 to hear the different chords at your disposal for chord type 2.•Holding key 4/CdHi and 12/CdLo and turning the value knob cycle through the different types of chords available for chord type 1 and 2 respectively.

The following chord types can be laid out across the upper and/or lower parts of the keyboard;

•'Ma; major (happy, simple) (3 notes)
•'Mi'; minor (sad, serious) (3 notes)•'s2'; suspended 2 (bright, nervous) (3 notes)•'s4' suspended 4 (bright, nervous) (3 notes)•'au' augmented (anxious, suspenseful) (3 notes)•'di' diminished (tense, unpleasant) (3 notes)•'7' major 7th (thoughtful, soft, "jazzy") (4 notes)•'M7' minor 7th (moody, contemplative) (4 notes)•'o7' dominant 7th (strong, restless, found in jazz and blues, as well as jazz-inspired r&b, hip hop, & EDM) (4 notes)•'a7' augmented 7th (4 notes)•'7a' augmented major 7th (4 notes)•'h7' half-diminished 7th (augmented minor 7th) (4 notes)•'77' minormajor 7th (4 notes)•'d7' diminished 7th (4 notes)•'7d' diminished major 7th (4 notes)•'pw' power chord (3 notes)•'9' major 9th (5 notes)•'M9' minor 7th (5 notes)•'o9' dominant 9th (5 notes)
•'a9' augmented 9th (5 notes)•'9a' augmented major 9th (5 notes)•'h9' half-diminished 9th (5 notes)•'99' minormajor 9th (5 notes)•'d9' diminished 9th (5 notes)•'9d' diminished major 9th (5 notes)•'6' major 6th (4 notes)•'m6' minor 6th (4 notes)

As you can see, the maximum polyphony used up is five notes at a time by these chord types. For triad chords (e.g. chords that use less than four notes at the same time), it is possible to specify what your patch should do with a "left over" fourth note/voice. Specifically, it is possible to instruct the patch to play any "left over" note/voice at a lower octave via the 'bS.tr' (bass note transpose) parameter under 6/Sn on the Cd track's 'GLob' page.

Please note that unless "free chord" ('FrE.C' under 4/Ar on in the Song's 'GLob' page) is set to 'yes' (firmware 2421+) , a chord's root note will always conform to the key/scale you chose for your song upon playback (you may still program an root note that does not fit the scale). For example, with the default C major scale, possible chord root notes are always the white keys of an imaginary piano (e.g. C, D, E, F, G, A, B) but not the black keys. Changing the root note of a chord by editing a step on the chord track, will always sound/play the closest "legal" note of your chosen key/scale/mode. So if you would, for example, choose a root note of C sharp for a song that is in the key of C major, your Woovebox will play a chord with a C root note (closest "legal" note for that scale), and not a C sharp (which is an "illegal" note for that scale).

By holding a programmed step, the programmed chord - in addition to auditioning - will briefly be displayed in the top four characters of the screen.

The conditionals available for the chord track vary slightly; instead of glissando (mostly appropriate for single notes), strumming up and down at various speeds is available as a conditional.

Multi-instrument mode is also available for the chord track, allowing you to "borrow" the sounds of other tracks and play them polyphonically. Switching on multi-instrument mode can be accomplished by changing the 'MuIn' (Mult Inst) parameter under 7/hh on the chord track's 'GLob' page to 'MLti'.

Finally, while the on the chord track's Seq ('Sequencer') page, many chords played via an external MIDI source connected to the MIDI input, will be recognised and will be ready to be programmed by holding write and choosing the 1-16 step you wish to place them on.

Diatonic mode

For your convenience (or if you are not that familiar with the different types of chords and how they sound), the chord track starts off in "diatonic" mode (unless you are using a more exotic key/scale that does not permit this).

Without delving too deeply into music theory, it is enough to know that the seven diatonic chords form the harmonic foundation of Western music, providing the basis for creating progressions and harmonies that sound cohesive within the key. You will notice that you can construct most popular chord progressions with just those seven chords. The 7th variants of the diatonic chords (e.g. using one note extra) are also available for some different "flavouring".

Diatonic playing is only available if the used scale comprises seven notes (e.g. is "heptatonic").

Inversions

In music theory, a chord inversion refers to a chord where the notes are rearranged in a different order from the original chord. Or in laymen's terms; it's the same chord, but just sounds "different".

Chord inversions refer to the rearrangement of the notes in a chord so that a different note other than the root (the fundamental pitch of the chord) is the lowest sounding note.

For example, in a C major chord, the root is C and the other two notes are E and G. In the first inversion of this chord, E becomes the lowest sounding note and the arrangement of the notes is E-G-C. In the second inversion, G is the lowest sounding note and the arrangement is G-C-E.

Inversions allow for greater harmonic variety and can add more interest and tension to chord progressions in music. They can help turn a boring chord progression into a more interesting one.

You can give any programmed chord on the 'Cd' track a fixed inversion (or even an automated inversion!) by editing the 'Inv' parameter, e.g. on any programmed chord;

•Hold step 1-16 until blinking•Cycle through parameters by pressing value to find the 'Inv' parameter•Turn value to select an inversion type

As with regular notes on other tracks, you can make these inversions conditional (for example, only play the inversion on every second playthrough of the chord progression, etc.).

The following inversions are at your disposal;

•'root'; no special inversion•'1st'; first inversion•'2nd'; second inversion (no effect if chord is a power 'pw' chord)
•'3rd'; third inversion (no effect if a chord is a triad, e.g. only has three notes)•'1st.d'; first inversion, with chord transposed one octave down
•'2nd.d'; second inversion, with chord transposed one octave down (no effect if chord is a power 'pw' chord)
•'3rd.d'; third inversion, with chord transposed one octave down (no effect if a chord is a triad, e.g. only has three notes)•'rand'; pick any of the above inversions at random•'auto'; depending on playthrough, cycle through root, 1st, 2nd (if applicable), 3rd (if applicable), back down to 2nd (if applicable), 1st, root, 3rd one octave down (if applicable), 2nd one octave down (if applicable), 1st one octave down, back up to 2nd one octave down (if applicable), 3rd one octave down (if applicable), and repeat.•'auto2'; cycle through root, 3rd one octave down (if applicable), 2nd one octave down (if applicable), 1st one octave down, back up to 2nd one octave down (if applicable), 3rd one octave down (if applicable), root, 1st, 2nd (if applicable), 3rd (if applicable), back down to 2nd (if applicable), 1st, and repeat.

Example

Chord progression without inversions

Chord progression with random inversions

Popular chords

For some people, using chords come naturally, and the Woovebox make easy to find a chord progression you like. There are no rules.

However, if this is all new to you, here are three progressions (assuming the default C major / A minor scale) that form the basis of many hit songs. The diatonic chord playing mode makes it super easy to play and program these.

I-V-vi-IV ("Axis of Awesome")

In the key of C major, the I-V-vi-IV chord progression would consist of the following chords:

I - C major (C-E-G) V - G major (G-B-D) vi - A minor (A-C-E) IV - F major (F-A-C)

So the chord progression would be C-G-Am-F. This progression is a very popular and widely used chord progression in modern music, and is often referred to as the "Axis of Awesome" progression because it can be used to play dozens of popular songs.

With your Woovebox' song key and scale in C major (which is the default) and the chord track's upper 8 keys in diatonic mode ("diat", also default). You can press the 5/ki key for C major 1/Cd for G major, 2/bs for A minor and 8/Pc for F major.

vi-IV-I-V

In the key of C major, the vi-IV-I-V chord progression would consist of the following chords:

vi - A minor (A-C-E) IV - F major (F-A-C) I - C major (C-E-G) V - G major (G-B-D)

So the chord progression would be Am-F-C-G. This chord progression is also quite common and is often used in pop, rock, and folk music. It is a versatile progression that can be used in a variety of tempos and styles, and is often used as the basis for simple and catchy melodies.

With your Woovebox' song key and scale in C major (which is the default) and the chord track's upper 8 keys in diatonic mode ("diat", also default). You can press the 2/bs for A minor, 8/Pc for F major, 5/ki key for C major, and 1/Cd for G major.

i-bVII-bVI-V ("Andalusian Cadence")

Assuming a key of C major / A minor, the i-bVII-bVI-V chord progression would consist of the following chords:

i - A minor (A-C-E) bVII - G major (G-B-D) bVI - F major (F-A-C) V - E major (E-G#-B)

So the chord progression would be Am-G-F-E. This chord progression is often used in rock and pop music, and has a melancholy, moody feel to it that can be used to evoke emotion in a song. It can be played in a variety of tempos and styles, and has been used in a number of popular songs.

With your Woovebox' song key and scale in C major (which is the default) and the chord track's upper 8 keys in diatonic mode ("diat", also default). You can press the 2/bs for A minor, 1/Cd for G major, 8/Pc for F major, and 7/hh key for E major.

Arpeggios

An arpeggio is a musical technique where the notes of a chord are played in a sequence, rather than all at once. This creates a sweeping, flowing sound that adds movement and interest to the music.

Your Woovebox comes with not one, but two different ways of creating arpeggios.

Method 1

You can to turn any of the sixteen tracks into fully customizable, complex, intricate arpeggiators.

Traditional arpeggiators found in most of today's gear are often inflexible presets that quickly become stale and uninspiring. Fortunately, your Woovebox comes with something much better; conditional triggering, various modes of auto-chord following, and variable pattern lengths, allowing you to turn any of the 16 tracks into fully customizable, complex, intricate arpeggios.

Key to turning a track into an arpeggiator, is to set its track length to something shorter (and preferably a prime number, such as 3, 5 or 7 steps).

Second, the way the track reacts to the current chord being played, determines how any steps are translated into note pitches. It goes without saying that arepggios therefore lean heavily on the chords you programmed on the chord 'Cd' track. Set FLW.C (follow chord) parameter on the 'Glob' (global) page to 'CLS.3' (quantize pitch to the closest notes that make up the first three notes of the chord) or 'CLS.A' (quantize pitch to the closest notes that make up the entire chord).

Now, program some notes of varying pitches. Use conditional triggering and/or modification to make the notes change depending on the playthrough. You will be generating complex arpeggios in no time.

Note that you can apply further tweaks to further give your arpeggios their own unique character, by applying swing (parameter 9/A1 on the 'Glob' page), applying the some delay effects, and/or by having the frequency cutoff LFO (13/A5-16/A8 on the 'Fltr' page) subtly (or not so subtly) modify the the arpeggio over time.

Method 2

While the forementioned way of creating arpeggios tends to be the most flexible and easiest, an alternative technique exists to create arpeggios.

This technique is much more in line with the old school way of creating arpeggios. The technique uses the pitch LFOs ("P.LFO") for modulating the pitch of a note, and quantizing the modulated pitch to a select few frequencies (these frequencies being the notes of our arpeggio). The frequencies are automatically preselected based on the chord that is playing on the 'Cd' track.

On the 'Pich' (Pitch) page, set 'L.1.Md'(LFO1 Mode) and/or 'L.2.Md'(LFO2 Mode) to 'Chrd'(Chord) to quantize the Pitch LFO's output to the nearest note that matches any note form the currently playing chord (regardless of octave). For example, if a sine wave is configured for the Pitch LFO with a depth of 2.0, the pitch will sweep the chord's note over two octaves.

Note that 'L.1.Md'(LFO1 Mode) can be configure to output a quantized version of LFO 2's output instead by setting L.1.Md'(LFO1 Mode) to 'Chd.2'(Chord, use LFO 2 as input). In the same manner, 'L.2.Md'(LFO2 Mode) can be configure to output a quantized version of LFO 1's output instead by setting L.2.Md'(LFO2 Mode) to 'Chd.1'(Chord, use LFO 1 as input).

Advanced use and textures

Because these types of arpeggios only take up one oscillator, it is possible play two arpeggios per voice, or incorporate the arpeggiation as part of sound design and principal synthesis, if an algorithm is selected that combine two oscillators (such as FM, AM, etc.).

This allows for the creation of animated textures and intricate pads.

Use in Chiptune

By further specifying LFO waveform, speed/rate, hold and LFO re-sync/re-trigger, various arpeggios can be accomplished, including the "fake chords" popularized by early 8-bit computer and video game music (aka the "chiptune" genre).

In chiptune music, "fake chords" are a technique used to create the illusion of chords on a monophonic sound chip, such as those found in early video game consoles and home computers. These chips could only play one note at a time, but composers would use arpeggios, fast note progressions, and other tricks to give the impression of multiple notes being played together as a chord. This allowed chiptune composers to create more complex and harmonically rich musical pieces within the limitations of the hardware.

Scales and modes

Scales allow you to more easily dial in a musical flavor or mood for your chords and melodies. Your Woovebox supports many scales, from well known scales to more exotic scales.

Different musical scales can create different emotions or feelings in the listener. For example, a major scale is generally considered to be happy or cheerful, while a minor scale is often described as sad or serious. This is because the major scale has a specific pattern of whole and half steps, which creates a sense of resolution and stability, while the minor scale has a slightly different pattern, which creates a sense of tension and dissonance. Other scales, such as the pentatonic scale, which only uses five notes, can create a simpler, more primal feeling, while modes like Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian can give music a specific cultural or ethnic character.

It's important to note that these are generalizations and that the emotional impact of a piece of music depends on many factors, including the melody, harmony, rhythm, and instrumentation. Also, different cultures have different scales and modes which can have different emotional impact.

Modes, scales and tonalities

A fantastic video by David Bennett on his David Bennett Piano Channel, explains an easy to understand concept of "brightness" of a scale or mode. Please consider subscribing to David's channel for more super helpful and accessible nuggets of music theory.

In summary, modes and scales are closely related, with modes being a specific type of scale, and tonality is the overall feeling and organization of a piece of music, which can be determined by the mode or scale used in the piece.

Setting a scale

You can set the scale of your song, by changing the "Scal" parameter under the 3/Ld key on the first page of Song mode.

The following scales/modes are available;

•"Maj" Major ("Happy")
•"nMin" Natural minor•"HMin" Harmonic minor ("Latin", "Spanish", "Arabic")
•"MMin" Melodic minor (Jazz, Film scoring)
•"MaPE" Major pentatonic•"MiPE" Minor pentatonic•"hirA" Hirajoshi•"Miya" In scale / Miyako-bushi•Insen•Iwato•Yo•Dorian•Phrygian•Mixolidyan•Locrian•Flamenco•Gypsy•Half diminished•Persian•Ukrainian•"TE.PO" TE PO scale (firmware 2817+)•Chromatic (firmware 2817+)

(firmware 2421+) You may set the "free chord" ('FrE.C' under 4/Ar) to enable free chord root note selection and playback on the Cd track outside of the selected scale. If set to 'no', any chord root note may be selected, but will be forced to conform to the selected scale.

Genres

Your Woovebox is the perfect tool for exploring a range of musical genres. Whether you're an expert producer or just a beginner, your Woovebox has the capabilities to help you make the music you and your audience love.

EDM

Electronic Dance Music is a broad range of percussive electronic music genres made largely for nightclubs, raves, and festivals.

Your Woovebox is extraordinarily suited to these styles of music as it emulates or implements many of the quintessential ingredients such as;

•Analog drum machine emulation (for 808, 909-like sounds)
•Analog and FM bass emulation (for 303, TX81Z-like sounds)
•Various lead and arpeggio synthesis emulations
•Sample triggering (drumloops and one-shots)•Multi-effects such as reverb and delay•Gating and side-chaining effects

Hip hop

Your Woovebox emulates and implements various aspects found in hip hop.

These include;

•808-like drum synthesis
•swing, off-grid and ratchet-triggering of percussive elements•sampling and sample playback
•lo-fi effects, including bit-depth reduction, sample rate reduction and vintage warble•quick dialing-in of popular scales, modes and tonalities•unique, rhythmic delay and filtering effects by feeding the dual delay effect back into each other•external sound source gating

Chiptune

Chiptune is characterized by low polyphony, basic waveforms and few effects (if any).

Due to chords being difficult to play with low polyphony, this is often compensated for by very fast arpeggiation of a chord on a single channel. This creates the illusion of chords playing, while only occupying one channel/voice. Alternatively, chords are "played" by playing only some notes that make up the chords, and not playing all of them.

Depending on the hardware era targeted, sounds may vary from basic square waves to rudimentary FM synthesis, sometimes even augmented by short lo-fi sampled instruments or one-shots.

In all cases, it is recommended to use multi-instrument mode for the number of tracks you intend to use. This helps you restrict your composition to a limited polyphony.

C64

The Commodore 64 ("C64") sound is characterized by its SID chip;

•3 tone generators (voices)•4 forms of waves (sawtooth, triangle, rectangle pulse width modulation, (white) noise)•3 amplitude modulator, until 48 dB•3 envelope generators•Synchronization of the oscillators•Ring modulation•Programmable filters (low pass, bandpass, high pass)

Gameboy

The Gameboy sound chip has a total of 4 sound channels;

•2x pulse channels (4 pulse width modes selectable in addition to full square wave)•1x noise•1x PCM

Emulating the two pulse channels is accomplished by putting a square wave oscillators on OSC1 and OSC2 and setting the algorithm to ring modulation. The pulse width (duty cycle) can be selected by modifying phase start of one of the oscillators. Gameboy duty cycles are Phase Start 4, 8, 16 and 24. Use 0 or 32 for full square waves. The pulse channels may be effected by AEG decay or release (but not both). When applying AEG decay or release, make sure to apply to both. Set AEG response to exponential (negative values for AEG1 Depth and AEG2 Depth).

The second pulse channel on the original Gameboy can only play a fixed frequency and cannot perform pitch sweeps (like glides)

The noise generator is easily simulated by using a single noise oscillator on OSC1 or OSC2. Use the Sample and Hold setting to change the flavor of the noise. The noise generator may also be effected by AEG decay or release (but not both).

The PCM channel is able to play back 4-bit samples that are 32 samples in length.

NES

The NES sound chip (Ricoh 2A0x series) has a total of 5 sound channels;

•2x pulse channels (4 pulse width modes selectable in addition to full square wave)•1x triangle wave•1x noise•1x PCM

Emulating the two pulse channels is accomplished by putting a square wave oscillators on OSC1 and OSC2 and setting the algorithm to ring modulation. The pulse width (duty cycle) can be selected by modifying phase start of one of the oscillators. NES duty cycles are Phase Start 4, 8, 16 and 24. Use 0 or 32 for full square waves. The pulse channels may be effected by AEG decay or release (but not both). When applying AEG decay or release, make sure to apply to both. Set AEG response to exponential (negative values for AEG1 Depth and AEG2 Depth).

The triangle wave generator is typically used for basses and does not allow for decay to be applied. Its triangle waveform was "stepped" adding some overtones. This can be emulated by using the bit crusher.

The noise generator is easily simulated by using a single noise oscillator on OSC1 or OSC2. Use the Sample and Hold setting to change the flavor of the noise. The noise generator may also be effected by AEG decay or release (but not both).

You can in theory use any sampled audio for the PCM audio you wish on one track. However a majority of the NES library used only 4 channels due to cartridge space limitations.

Patches and presets

Your Woovebox comes with a number of presets in various sound categories. You are highly encouraged to use these as a starting point for your own sounds.

And remember that, if you cannot find a sound that inspires you in the presets, you can always try one of the two patch randomization options.

On the patch ('Pach') page of a track, hold any of the lit-up patch category keys (1/Cd-10/A2) and turn the value knob to browse through the available presets. Select the 'undo' item (first option - e.g. keep turning the value knob to the left) to revert back to the patch you had when you entered the patch ('Pach') page. Select the 'init saw' item (last option - e.g. keep turning the value knob to the right) to initialize a patch to a basic saw wave.

The location of the presets (1/Cd - 10/A2) roughly correspond with their recommended use, but you are absolutely free to use, say, a 'bS'/baSS preset on, say, a hh/hi-hat track if you want. Similarly, you can, for example, use any of the lead presets on the chord track and vice-versa.

The rough categories are as follows;

•'Chrd' (1/Cd); sounds suitable for the chord ('Cd') track such as pads and strings•'Bass' (2/bS); bass sounds such as 303s, various emulations of classic synths and electric basses
•'Lead'; (3/Ld) lead sounds such as lead synths, pianos and bells
•'Arpg'; (4/Ar) short sounds and plucks suitable for an arpeggio track
•'Kick'; (5/Ki) various kicks
•'Snre'; (6/Sn) various snares
•'HiHt'; (7/hh) various open and closed hi-hat sounds
•'Perc'; (8/Pc) various general percussive elements
•'Para'; (9/A1) paraphonic sounds
•'Efct'; (10/A2) various effects

Parameter and settings retention between presets

The following parameters and settings are kept in between switching presets;

•master volume
•transpose•follow chord•MIDI channel•all sidechain and compressor settings (e.g. everything on the 'dyna'/dynamics page)
•swing/groove•chord bass note transpose (in case of a chord preset)
•chord stereo width (in case of a chord preset)

All other parameters (including FX sends) will be modified when loading the new preset.

Context menu

The context menu on the Patch ('Pach') page has the following options;

•'duMP Pach' (dump patch) dumps the current patch as SYSEX to any connected MIDI devices and/or Wooveconnect (see also patch backup).•'CoPy Pach' (copy patch) copies the current patch into the persistent patch buffer. The patch buffer stays intact when switching tracks, pages, or modes.•'PStE Pach' (paste patch) pastes the patch in the patch buffer into the the current track.•'rAnd Pach' (randomize patch) randomizes a patch (see also randomization)

Full preset list

The following is a comprehensive preset list with notes and suggested sound design uses.

Note the use of common designators/identifiers such as lead, pno (piano), pad, bras (brass), str (strings), vo][ (voice), orgn (organ), FM (Frequency Modulation), PWM, epno (electric piano), gtr (guitar), hsyn (hard sync), PWM (Pulse Width Modulation), flut (flute), pluk (pluck), hi-hat (hiht), cymabls (cymb) or references to classic synthesizers and drum computer model names/numbers

Patches designated 'hold' should be "held" (sustained) to let their sound play out over time.

Note that some chord presets rely on the "digital/variable" oscillator type that varies the filter and LFOs based on pitch to achieve a "ROMpler"-like evolving sound. This effect may not be apparent if chord presets are used monophonically.

Please tweak these, use these as inspiration for your own sounds. Also consider using the randomization to find unique new sounds.

Chrd (Chords)

1orch str; orchestral string ensemble2trnc str; trance strings37Saw lead; dual octave JP8000/8080 super saw lead (heavy detune, 14 saw waves per voice)4watr pad; pad with splashing water effect5acc pno; approximation of an acoustic piano6glis pad; pad with "glistening" free-running pitch quantized sweep7syn bras; classic analog brass8talk pad; random filter frequency PPG-like sound9evol pad; highly textured random evolving pad10wave lead; 80s ballad reminiscent pad11viol str; highly detailed chamber strings ensemble12hoov saw; classic "hoover"-like super saw mayhem; heavy detune, 2x 7 saws per note, one set tuned two octaves down, all playing the root note in unison (rather than playing chord) with all the voices sliding between octaves at random
13str vo][; string ensemble with vocal qualities14reso lead; simple resonant lead15warm pad; warm analog pad16tape orch; warm analog tape orchestra
17mjst pad; warm cinematic majestic pad18lofi pad; emulates a grainy AMIGA-like lofi pad, works well as single voice on other tracks in lower octaves for instant 80s scifi movie vibes
19casc pad; pad with cascading pitches20hous orgn; 90s house organ21rock orgn; rock organ, also consider lowering an octave (transpose -12)
22haaa vo][; "haaa" voice23hooo vo][; "hooo"/chant voice24horn bras; horn brass orchestra25solo bras; solo brass-like instrument26evlv pad; resonant textured random evolving pad27hous pno; 90s approximation of an acoustic piano, good for stab chords28ghst pad; ghostly ethereal pad29spkl FM; bright sparkly FM sound

BaSS

1ltly bass; approximation of the iconic TX81z/DX11 patch
2club bass; basic bass without too many harmonics, useful for minimal tracks and sub-bass uses3saw 303; dirty 303-like sawtooth bass as pioneered in the acid genre4sqr 303; 303-like squarewave bass5smok bass; bass with various harmonics that punches through a mix reasonably well6synt bass; a generic synth bass
7lofi bass; bass with gritty lo-fi growl, emulating low samplerate sampled basses8trap 808; 808 kick misappropriated as a bass, as seen in the trap genre9love bass; growly lo-fi bass with many harmonics reminiscent of 90s dance hits (e.g. Robin S)
10tkno bass; short techno bass11dirt bass; aggressive sounding dynamically filtered bass, reminiscent of some Prodigy tracks (e.g. Poison)12bite bass; growly sounding filtered bass with subtle flanging, useful for 80s-inspired and synthwave genres13fat PWM; CS-01 inspired PWM bass14sine bass; simple sine wave bass with attack click (modify osc1 phase start)15moog bass; Moog-inspired dual oscillator bass16hldy bass; early/mid 80s inspired analog bass patch (e.g. Madonna's "Holiday")17ftln ply6; Poly-Six inspired, free-running fat line bass, useful for contemporary 80s-inspired and synthwave genres18bass gtr; picked electric bass guitar19slap bass; electric slap bass guitar20bond gtr; 60s electric bass guitar

LEad

1grnd pno; grand piano, using built-in hammer sample for attack transient27Saw lead; JP8000/8080-style super saw lead (7 saw waves, heavy detune)37Sw2 lead; bright ultra saw plucked lead (14 saw waves, medium detune)
47Sw3 lead; dual-octave fat super saw lead (14 saw waves, heavy detune)
5swrl lead; synth lead with swirling pitch quantized notes6dune lead; synth lead inspired by cinematic Middle-Eastern sound tracks - play with legato7juno lead; Juno-inspired lead8sqr lead; simple filtered squarewave lead9airy lead; K1-reminiscent airy lead
10lazy lead; "lazy" key-following (e.g. portamento-heavy) 80s/90s hip-hop lead11anlg bras; analog brass section synth patch suitable for 80s-inspired genres12c64 PWM; Commodore 64 SID inspired PWM patch13stab orgn; organ stab, reminiscent of many 90s and early 00s house hits14elct epno; early (70s) electronic piano patch15soft epno; soft early (70s) electronic piano patch16drem epno; digital early 90s DX7-like piano (twin peaks)17swrl epno; simple piano with swirling18elec gtr; electric guitar patch19talk hsyn; quintessential "hard sync" algorithm talk box-like patch20run lead; pulse wave gated by LFO21pierce lead; mix-piercing lead with swirling notch filter, perfect for trance22noise saw; atmospheric / melancholic saw wave lead, augmented by noise and subtle filter and detune wobble
23sumr gtr; mellow electric guitar24dist gtr; distored guiatr25funk ms20; funky MS20-like lead26trbl flut; tribal flute27indi sitr; sitar-like patch28orch bras; orchestra hit brass29frch bras; French horn brass30sctn bras; brass section31cllo str; cello-like patch32wave lead; 80s/synthwave-inspired lead

ArPG (Arpeggio)

1saw1 pluk; sawtooth-based pluck2saw2 pluk; sawtooth-based pluck with filter envelope32oct pluk; pluck playing over two octaves
4sw.si pluk; sawtooth + sine wave pluck5nyln gtr; nylong guitar-like patch6stel gtr; steel guitar-like patch7pizz pluk; pizzicato strings87saw pluk; dual differently tuned super saw (14 saw waves) pluck over two octaves9bop pluk; dual differently tuned super saw (14 saw waves) pluck over two octaves + third sine wave oscillator10wah gtr; auto-wah guitar11twng gtr; talk box twang guitar

KicK

1univ kick; universally useful kick, good basis for further tweaking2univ 909; universally useful 909-style kick, good basis for further tweaking3hard 909; hard 909 kick that has good punch through in EDM mixes4soft kick; soft kick for more minimal compositions5long kick; kick with follow-through for emphasis6acc kick; approximation of an accoustic kick7over 909; overdriven 909 kick8deep kick; kick with deep follow-through emphasis9nois kick; kick with noise component for hard-style genres10long 808; long-release 808-style kick11shrt 808; short-release 808-style kick

SnrE (Snare)

1univ 909; universal 909-style "snappy" snare2univ 808; universal 808-style snare31982 snre; early 1980s drum computer snare41986 snre; late 80s snare5phil fill; good for tom fills6rock snre; rock snare7bang snre; big snare

hiht (Hi-Hat)

1open hiht; various hi-hats (try F6 and B5 for 909-style hi-hats)2opc1 hiht; hi-hat patch that can be used for both open and closed hihats (depending on note length)3opc2 hiht; alternative hi-hat patch that can be used for both open and closed hihats (depending on note length)

PErc (Percussion)

1smll clap; short 808/909-style clap2lrge clap; brighter clap3fat clap; lush hand clap4huge clap; long clap with good mix punch-through5brte clap; bright clap/noise sound with good mix punch-through6fngr snap; finger snap7wood tick; various wood/rim shots8bong drum; bongo drum at different pitches9shrt drum; short drum10metl clng; metal clang-like sounds11hand tamb; various tambourines12synt crsh; various synthesized crash cymbals13smpl crsh; crash cymbal using internal factory sample14simm tom; Simmons tom approximation15hand shkr; shaker16cow 808; 808-style cowbell17cow bell; more realistic cowbell as found on early drum computers with sample playback18ride cymb; ride cymbal19909 tom; 909-style tom

Para (paraphonic)

1hous pno; house piano-like patch2synt pno; synthesized piano-like patch3dust pno; dusty lofi piano4bell stab; bells stab5fltr stab; filtered saw wave stab as commonly found in EDM
6dub stab; high-pass filtered sound reminiscent of dub7viol stab; synthesized violin-ish stab8sine stab; pure sine patch, good starting point for sound design9tri stab; pure triangle patch, good starting point for sound design10saw stab; pure saw patch, good starting point for sound design11sqr stab; pure squarewave patch, good starting point for sound design12sput hold; sputnik transmission13alrm hold; alarm

EFct (effects)

1risr trns; riser noise transition with LFO on filter2rifl trns; filtered noise riser + faller transition3copt trns; "copter" riser4mchn hold; various "massive anti-grav machine" startup/shutdown/drone sounds5yoi vo][; dubstep "yoi"6cybr vo][; (chromatic/playable) cyber future7sklt vo][; skeleton cries8revs cymb; sampled reverse crash cymbal9FS01 init; factory sample kit (FS.01)10arcd f][; various retro arcade sound FX11pew f][; disco "pew"12scrt f][; scratch effect13pnch f][; being punched in the kisser14helo vo][; hellololololo15grwl f][; quintessential dubstep growl with different LFO speeds for different pitches
16thnd f][; various types of thunder (pitch dependent; lower yields sharper cracks)17rain f][; various types of rain18wind f][; various types of wind19bird f][; various types of birds20frog f][; various frog noises21didg f][; sampled didgeridoo (native recording A5)22guts f][; guts/feeding/swallowing sound effects23zap hold; electric zap/spark24engn hold; various combustion engines

Sound design

As opposed to most other groovebox, your Woovebox allows for deep, sophisticated sound design, offering a massive sonic palette of sounds. Its powerful synth engine can synthesize - from scratch - anything; from EDM-oriented instruments to acoustic piano and drums.

Architecture

The Woovebox implements a novel unified synthesizer architecture.

The architecture is said the "unified", because despite being able to employ a wide range of synthesis techniques, the parameters and their fundamental behavior - with a few notable exceptions - don't really change. This makes it easier to learn sound design on your Woovebox, while also making it easier to understand how the same parameters behave differently in the context of different synthesis algorithms.

Aside from a special paraphonic mode that allows for sounding up to 4 notes at the same time, the Woovebox gives you one voice per track (note however, that it is possible for a track to use another tracks' voice settings via multi-instrument mode). The exception is the 'Cd'/chord track with a maximum of four full voices.

Once voice consists of;

•2x waveform sources (loosely defined as "oscillators" for convenience and convention) (see Osc1/Osc2 pages)
•Per-oscillator amplitude control (AEG, ALFO) (see AMPL page)
•Pitch control (legato, slide) and per-oscillator pitch LFOs (PLFO) with quantization effects (see Pich page)
•Dynamics with side chain input and output as well as a compressor/limiter per voice (see dyna page)
•multi-mode filter with FEG, FLFO (see FLtr page)
•Distortion, saturation, bit-crush, as well as effect sends to reverb, delay 1, delay 2 and chorus units (see GLob page)•Third sine wave oscillator (additive, post-filter and post-effects) that can be configured to follow oscillator 1 or 2 for enriching harmonic content or bass

The two waveform sources can be individually configured to output;

•basic (single cycle) waveforms such as the familiar sine, triangle, saw or square waves•complex multi-oscillator waveforms such as dual pitch sine, triangle, saw or square waves or 7-saw (aka "super saw") waveforms•user samples•incoming audio•delay 1 or delay 2 taps

The two waveform sources can also be combined to generate up to 4-note paraphonic chords. The ability for an 'Osc1' and 'Osc2' waveform sources to generate multiple combined oscillators at once (for example 7 detuned sawtooth waveforms in the case of choosing one of the Super Saw wave types), is the reason why the 2x waveform sources are only loosely defined as "oscillators"; mostly for convenience and conventional understanding of common synthesis architectures.

The modulated waveform sources are combined according to one of fourteen different algorithms (ranging from basic subtractive or FM synthesis to more esoteric algorithms like "sign conditional combine" or "exclusive OR").

After combining, the resulting signal is passed through the dynamics (compressor/limiter and sidechain) unit, filter, lo-fi unit, and finally passed to the mixer and global effects. An optional third sine wave oscillator is added after the effects block, and can be used to enhance harmonic content, serve as a sub-oscillator and more.

Oscillators

A Woovebox voice is generated by combining up to two oscillators and - in some cases - white noise. Oscillators range from basic waveforms such as sine, saw, pulse and triangle waves, to more complex waveforms such as 5ths, supersaws, user-imported samples, delay taps and even live external audio.

Oscillators may be configured to be free running, re-syncing, randomly phasing, note-based phasing, and may even be allowed to subtly drift from another for a more analog/organic sound.

Osc1 and Osc2 oscillator page

These pages configure oscillator behavior.

1. WaVE waveform selection

The waveform that should be used as a sound source for the oscillator. Choose from;

•'NOIS'; white noise
•'Sin1'; sine wave
•'Sin2'; dual sine wave with one sine wave playing at double frequency (e.g. one octave higher)
•'Sin7'; dual sine wave, with perfect fifth ratio (e.g. one sine wave 7 semitones transposed)
•'SiP1, 'SiP2'; see paraphonic parts documentation•'Tri1'; triangle wave
•'Tri2'; dual triangle wave with one triangle wave playing at double frequency (e.g. one octave higher)•'Tri7'; dual triangle wave, with perfect fifth ratio (e.g. one triangle wave 7 semitones transposed)•'TrP1', 'TrP2'; see paraphonic parts documentation•'Saw1'; saw wave
•'Saw2'; dual saw wave with one saw wave playing at double frequency (e.g. one octave higher)•'Saw7'; dual saw wave, with perfect fifth ratio (e.g. one saw wave 7 semitones transposed)•'SwP1', 'SwP2'; see paraphonic parts documentation•'Sqr1'; square wave
•'Sqr2'; dual square wave with one square wave playing at double frequency (e.g. one octave higher)•'Sqr7'; dual square wave, with perfect fifth ratio (e.g. one square wave 7 semitones transposed)•'SqP1', 'SqP2'; see paraphonic parts documentation•'SSw1'; seven saw waves, heavily detuned
•'SSw2'; seven saw waves, moderately detuned
•'SSw3'; seven saw waves, lightly detuned
•'SSw4'; seven saw waves, very lightly detuned
•'FS01'; factory sample kit
•'US01' - 'US16'; user sample kit - use the 'SL.SL' (slice select) parameter to further specify a specific sample slice if required
•'In12'; audio in (3.5mm jack), summed into mono signal
•'In1 '; audio in (3.5mm jack), left channel only as mono signal
•'In 2; audio in (3.5mm jack), right channel only as mono signal
•'Dly1'; delay unit 1 output
•'Dly2'; delay unit 2 output

2. LEvL oscillator output level

Defines the output level (amplitude) of the oscillator

3. dEt.C Pitch detune (coarse)

Coarse pitch detune defined in octaves.

4. dEt.F Pitch detune (fine)

Fine pitch detune, defined in semitones (12 semitones in one octave).

5. AEG.d Amplitude Envelope Generator depth

Defines the strength and nature of the effect of the Amplitude Envelope Generator (AEG). 0 causes the AEG to have no effect at all on the oscillator's amplitude, while 127 causes full effect. A negative value defines an exponential response (power of two), while a non-negative value defines a linear response.

6. A.L.tr Amplitude LFO trigger

Defines what should happen to the oscillator's amplitude LFO ("Low Frequency Oscillator") when a new note is triggered;

•'FrEE' will not cause the LFO to restart•'Retr' will cause the LFO to restart•'Cond' will only cause the LFO to engage if the step that triggered the note has a valid ('when') 'ALFO' condition ('do') set•'rand' will start the LFO at a random phase (location in the chosen waveform)

7. P.L.tr Pitch LFO retrigger

Defines what should happen to the oscillator's pitch LFO ("Low Frequency Oscillator") when a new note is triggered;

•'FrEE' will not cause the LFO to restart•'Retr' will cause the LFO to restart•'Cond' will only cause the LFO to engage if the step that triggered the note has a valid ('when') 'PLFO' condition ('do') set.
•'rand' will start the LFO at a random phase (location in the chosen waveform)

8. A.Ky.t Amplitude AMP K.trK

Amplitude key tracking; specifies how much (and in which direction) the pitch of a played note should correspond to an increase or decrease in amplitude for this oscillator.

9. PL.Md Oscillator Play Mode

Defines how the selected waveform should be played.

•'Loop'; play the waveform looped
•'LooR'; play the waveform looped, however in revers
•'OneS'; play the waveform once, then stop
•'OneR'; play the waveform once in reverse, then stop•'FxLn'; adapt the pitch of the waveform so that it plays exactly for the duration specified
•'FxLR'; adapt the pitch of the waveform so that it plays exactly for the duration specified, however in reverse
•'FwRv'; play the the waveform looped, alternating between forward and reverse (aka "ping-pong")
•'FwRR'; play the the waveform looped, alternating between forward and reverse (aka "ping-pong"), start playing in reverse first

Note that any behavior specified here is overridden in the case of sample slice playback; each sample slices has its own configurable oscillator play mode.

10. Ph.Md Phase Mode

Phase mode allows for the starting position of a the waveform to be dependent on the note pitch being played. For example, if you have a sample (waveform) that plays "bigger, better, faster, stronger", you can make the sample start further into the waveform depending on the note being played. E.g. starting at an A-4 note, the waveform may start at "better", while at A-6 note, the sample may start at "stronger", etc.

Phase control is mostly useful sound designing patches that sound subtly (or not so subtly) different depending on the pitch being played.

The following two settings are available;

•'nrML'; no phase modification
•'notE'; phase is dependent on the note being played

11. Ph.St Phase Start

Start position (in percentage, where 0 is start of waveform and 100 is end of waveform) for the the waveform. The start position can be used for subtle things like transient shaping of a looped waveform (creating "attack clicks"), or for more dramatic effects like precise waveform modulation via FM or AM synthesis.

12. Ph.rn Phase Range

Phase range defines a range between Phase Start (Ph.St) and the end of the waveform, between which the waveform may start.

Leaving Phase Start at 0 and Phase Range at 100 will effectively cause the oscillator behave like a classic "free running" oscillator found in many classic analog synthesizers; an oscillator that is always running, but is simply made audible and inaudible rather than turned off and on. This type of oscillator will never quite sound the same and can help your sound subtly distinguish itself from static sampled instruments. It is one of a number of virtual analog emulation features than will set apart your Woovebox' sound from basic sampled instruments.

13. Ky.FW Key Follow

Key follow defines how a note maps to the pitch of the oscillators.

A value of 100 will map a note's pitch to the oscillator's pitch 1:1. A value of 200 will map a note's pitch to the oscillator's pitch 2:1, and so on.

This parameter is useful for generating different timbres for AM and FM synthesis, depending on the note struck. It can also "lock in" a fixed oscillator pitch for an oscillator by setting it to 0, which is, for example, useful when using one oscillator as a fixed frequency or amplitude source.

14. StyL Oscillator Style

Oscillators can be played back in subtly different styles, to emulate various quirks from specific gear from past decades;

Available are;

•'Mdrn'; Modern - playback incorporates modern standards and techniques, including interpolation and multi-sampled waveforms
•'dGtL'; Digital - playback allows for aliasing oscillators as found in older digital synthesizers and workstations•'dGt.v'; Digital / variable rate - playback allows for aliasing oscillators as found in older digital synthesizers and workstations while prorating EGs and LFOs speeds according to pitch, mimicking how EG and LFO times get "baked into" a sampled instrument
•'AnL1'; Analog 1 - playback introduces a very subtle drift in pitch to emulate imperfect but high quality analog pitch circuitry, suitable for emulating analog patches that rely on inherently imperfect oscillator interaction for their timbres such as "analog" french horns
•'AnL2'; Analog 2 - playback introduces a subtle drift in pitch to emulate lower-cost imperfect analog pitch circuitry, imparting a warmness and analog authenticity to certain waveforms, suitable for 303 emulations and emulating well-used, aged analog gear
•'AnL3'; Analog 3 - playback introduces a drift in pitch to emulate intentionally imperfect analog pitch circuitry, imparting a "controlled chaos" onto the pitch of an oscillator, suitable for creating naturally chaotic timbres such as choirs
•'AnL4'; Analog 4 - playback introduces a substantial drift in pitch to emulate low-quality or broken analog pitch circuitry, suitable for recreating VHS tape audio warble

15. SL.SL Slice Select

Slice select specifies which sample slice should be selected when a note is played.

•'1-16'; slice is determined by the 'SLcE' parameter specified by a step. Slices 1-16 are auditioned by pressing key 1-16.
•'1-16.'; slice is determined by the 'SLcE' parameter specified by a step. Slices 1-16 are auditioned by pressing key 1-16. Slice 1-8 and 9-16 have swapped locations.
•'MSM1'; multi-sample slice select mode 1. This mode chooses the slice whose pitch is closest to the target pitch. This mode will result in the most natural sounding multi-sampled instrument playback. See also using a multi-sampled instrument.•'MSM2'; multi-sample slice select mode 2. This mode chooses the slice whose pitch is closest to the target pitch, but only if that sample was recorded at a higher pitch. This mode will result in multi-sampled instrument that is mostly free of aliasing. See also using a multi-sampled instrument.
•'Sl 1'-'Sl16'; use a fixed slice (1 through 16) for every note.

16. SM.Ho Sample-and-hold

Sample and-hold allows you to prepare a new oscillator sample every nth master sample. This allows for an oscillator to be played back at a lower sample rate than the master sample rate (fixed at 44.1kHz / "CD-quality"). This allows for emulating the sound of early samplers of the late 80s and early 90s, as heard on, for example, early hip-hop tracks.

The resulting sample rate can be calculated as 44100/(n+1), so;

•n = 0 yields normal quality (44.1kHz)•n = 1 yields 22.05kHz•n = 2 yields 14.7kHz (useful for emulating hip-hop and jungle/drum-n-bass from the late 80s and early 90s, particularly on percussion and drumloops)
•n = 3 yields 11.025kHz (useful for emulating hip-hop and jungle/drum-n-bass from the late 80s and early 90s, particularly on percussion and drumloops)•n = 4 and beyond can be useful for emulating early 16-bit and 8-bit video game effects

Oscillator 3: sub/super-oscillator

A third sine wave-only oscillator is available on the pitch ('Pich') page. This third oscillator can be configured to either follow oscillator 1 or oscillator 2. When enabled, it will adopt the specified "parent" oscillator's amplitude and pitch. Using O3.Oc ("Osc3 Octv") parameter under 4/Ar, the third oscillator's pitch can be lowered (for a sub-oscillator) or raised by an number of octaves, or can alternatively kept at the same pitch as the parent oscillator.

To make the third oscillator audible, increase or decrease the O3.Lv ("Osc3 LevL") parameter under 3/Ld. Increasing it from 0 will see the third oscillator follow oscillator 1. Decreasing it from 0 will see the third oscillator follow oscillator 2.

The third oscillator is additive (meaning it is not subject to the oscillator combining algorithms) and is summed post-filter and post-effects. This means that there is no danger of muddying up your mix. And because the oscillator produces a clean sine wave, only the oscillator's root frequency is added to the mix without adding any other harmonics.

Just like oscillator 1 and 2, the sub-oscillator's signal is sent to the dynamics block and counts towards any side-chaining, gating or ducking inputs.

Lastly, the third oscillator is subject to a 25Hz brick wall filter, meaning that below a frequency of 25Hz, it will no longer play.

Use cases

The specific attributes of the third oscillator makes it a useful tool to further enhance your synthesized sounds, all without impacting your mix.

Sub-Bass Enhancement

Create a deeper and richer bass sound by lowering the third oscillator's pitch in relation to oscillator 1 and 2. This generates a sub-bass layer that reinforces the fundamental frequency of the bass sound, adding depth and warmth without overwhelming the mix.

Harmonic Layering

Add subtle harmonic content by raising the third oscillator's pitch by one or more octaves relative to its parent oscillator. This can add a harmonic layer that enhances the overall sound without introducing additional harmonics, keeping the sound clean and pure.

Frequency Doubling

Thickening leads or pads by keeping the third oscillator at the same pitch as its parent oscillator, blending it in subtly (or not so subtly). This can add a sense of fullness and body to lead sounds or pads without cluttering the harmonic spectrum.

Percussive Elements

Designing unique percussive sounds by using the third oscillator to create a clean and punchy low-end element that complements the percussive attack. An example is the non-noise component of a synthesized (for example 909-like) snare drum.

Algorithms

The way your Woovebox combines the oscillators is determined by the algorithm selected ('ALGo'/'Syn ALGo'/3 on the 'GLob' page).

The following seventeen algorithms are available;

•'Subt'; subtractive synthesis (aka "virtual analog"). The two oscillators are summed. This algorithm emulates the sound of classic analog synths from the 60s, 70s and early 80s.
•'FM1'; frequency modulation 1. Oscillator 1 is frequency modulated by oscillator 2. This algorithm emulates the sound of classic Yamaha FM synths and chips from the 80s.
•'FM2'; frequency modulation 2. Oscillator 1 is frequency modulated by oscillator 2. Oscillator 2 (modulator) is added to the result. With the modulator mixed in present as the fundamental, this allows for enhanced harmonics by modifying the tuning of oscillator 1.•'FM3'; frequency modulation 3. Oscillator 1 is frequency modulated by oscillator 2, after which the result is multiplied by standalone oscillator 1.
•'FM.nS'; frequency modulation 1 with noise. Oscillator 1 is frequency modulated by oscillator 2. AEG1 controls both Oscillator 1 and 2, while AEG2 controls noise.•'FM.SC'; frequency modulated sign-conditional combine. Oscillator 1 is frequency modulated by oscillator 2, if the result is positive, oscillator 2's absolute amplitude is subtracted, else oscillator 2's absolute amplitude is added.•'FMEO'; frequency modulated exclusive bitwise OR. Oscillator 1 and 2 are exclusively OR'ed, after which the result is frequency modulated by oscillator 2.
•'Eor'; exclusive bitwise OR. Oscillator 1 and 2 are exclusively OR'ed•'rMod'; ring modulation. Oscillator 1 is multiplied by Oscillator 2, aka "ring modulation".•'AM1'; amplitude modulation 1. Oscillator 1 is amplitude modulated by oscillator 2's unsigned amplitude.
•'AM2'; amplitude modulation 2. Oscillator 1 is amplitude modulated by oscillator 2's absolute amplitude.•'SCon'; sign-conditional combine. If oscillator 1 is positive, oscillator 2's absolute amplitude is subtracted, else oscillator 2's absolute amplitude is added.
•'hSyn'; hard sync. as soon as oscillator 2 starts a new cycle, oscillator 1 is also forced to start a new cycle.
•'rMNs'; ring modulation with noise. Oscillator 1 is multiplied by Oscillator 2 (aka "ring modulation") and noise is added. AEG1 controls both Oscillator 1 and 2, while AEG2 controls noise.•'t.W.En'; thresholded wave ending. Oscillator 1 is muted ("ended") if Oscillator 2's waveform amplitude (before ALFO/AEG) exceeds Oscillator 2's volume as determined by AEG/ALFO. As soon as oscillator 1 starts a new cycle, oscillator 2 is also forced to start a new cycle.•'t.S.FL'; thresholded sign flipping. Oscillator 1's phase is inverted 180 degrees (sign flipped) if Oscillator 2's waveform amplitude (before ALFO/AEG) exceeds Oscillator 2's volume as determined by AEG/ALFO. As soon as oscillator 1 starts a new cycle, oscillator 2 is also forced to start a new cycle and the phase (sign) reverts to normal behavior.•'WarP'; time and pitch warping. Oscillator 1 pitch settings afford independent control of the sound's pitch, while oscillator two's pitch settings affords independent control over a sound's playthrough time. Oscillator 2's level (2/bs/LEvl on the Osc2 page) controls cycle length.

Using these algorithms a vast array of timbres and percussive elements can be created.

Note that for the FM algorithms, the amplitude and pitch LFOs (one per oscillator) can be used to achieve complex "2 + 2" four operator FM synthesis timbres. FM2's algorithm differs

For all FM algorithms except FM2 and FMSC , the modulator's output is made proportional to the frequency of the carrier. For FM2 and FMSC, the modulator's output is directly added to the frequency of the carrier without scaling.

Finally, please note that algorithms that rely on an accurate, predictable reading of an oscillator's amplitude, the oscillator style (14/A6/'StyL' on the Osc1/Osc2 pages) is best set to digital ('dGtL'). This is because analog circuitry (including as emulated by your Woovebox) has inherent bounce and ringing in signals, which, while more pleasing to the ear, make them less predictable for driving algorithms that rely on a 'clean' signal such as hard sync ('hSyn') the thresholded wave ending ('t.W.En'), and the thresholded sign flipping ('t.S.FL') algorithms.

Low Frequency Oscillators (LFOs)

A number of dedicated low frequency oscillators exist to modulate things like amplitude, cut-off frequency and pitch.

The pitch LFOs can be quantized to the nearest note in a chord, octave, or scale.

A reduced set of basic of waveforms are available as sources; noise, sine, triangle, saw or square wave.

All LFO rates are related to song BPM and are expressed as fractions or multiples.

A hold time (in milliseconds) may be specified to sample & hold the LFO for the specified duration. Optionally (by specifying a "negative" value), the LFO value may be the result of linear interpolation between two hold samples (current and next). This allows for smooth variation between two hold values, rather than yielding a jarring "staircase" effect. This is particularly useful for interpolating between random (noise) LFO values, allowing for randomly changing/evolving timbres in sound design.

Envelope generators

Oscillator 1 and 2, as well as the filter come with an ADSR (attack, decay, sustain, release) envelope generator for amplitude and frequency cut off respectively;

•Attack (AtK.1/ATtK.2/Attk) defines the time it takes (in milliseconds) to ramp up from 0 full amplitude.•Decay (dcy.1/dcy.2/dcay) defines the time it takes (in milliseconds) to ramp down from full amplitude to sustain level.•Sustain (SuS.1/Sus.2/Sust) defines the level at which the amplitude or filter frequency should hold for the duration of the note.•Release (rLS.1/rLS.2/rLSE) defines the time it takes (in milliseconds) to ramp down from full sustain level to 0.

Please note that the strength and nature of the envelope generators can be further shaped by other parameters;

•For the Amplitude Envelope Generator for oscillator 1 and 2, the strength ("depth") of the respective envelope generators can be controlled by 'AEG.d' on the Osc1/Osc2 pages. A negative number yields an exponential (power of two) response instead of a linear response.•For the Frequency cut-off Envelope Generator, the strength ("depth") of the respective envelope generators can be controlled by 'FEG.d' on the FLtr page. A negative number yields an exponential (power of two) response instead of a linear response.•For the Frequency cut-off Envelope Generator, the 'C2dc' parameter feeds the final filter cut-off level generated by the FEG and FLFO to the AEG1 and AEG2's decay, shortening the decay of both AEGs as the filter closes, while lengthening it as the filter opens. This technique is often used in the Trance genre to build tension during filter sweeps.

Filters

Each voice comes with a multi-mode filter with various "flavours" of filtering (low pass x 2, band pass x 4, high pass x 4). Each filter has a dedicated envelope generator and LFO for the cut-off frequency.

A filter passes through certain frequencies while making others less (or not at all audible). A filter's slope (often measured in dB) specifies how quickly frequencies are affected around the cut-off frequency. For example, a 24db filter is much more dramatic in the way the frequencies are affected (attenuated) than a 6db filter which affects frequencies more gradually.

It is important to note however, that the filters in your Woovebox were designed for musicality and maximum sound design versatility/"flavoring" as found in vintage analog gear, rather than cold clinical and - some would say - boring "perfection" as found in some more naive/"perfect" implementations of digital filters.

Filter page

1. type Filter type

The 'type' parameter specifies the filter type that is applied to the patch;

•'none'; no filter is applied. Use this setting to conserve some DSP resources.•'LoW1'; low-pass. Frequencies below the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use is to turn turn "sharp" tones into mellow pads and basses. This filter's slope is closest to a 24db filter. It has a more analog, benign, less harsh response and sound than 'LoW2'.
•'LoW2'; low-pass. Frequencies below the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. This filter's slope is closest to a 24db filter. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse.
•'bnd1'; band-pass type 1. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'bnd2'. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.•'bnd2'; band-pass type 2. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, and it has a sharper response and sound compared to 'bnd2'. It may distort at high resonances. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.•'bnd3'; band-pass type 1. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 6db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'bnd4'. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.•'bnd4'; band-pass type 2. Frequencies around the cut-off threshold are kept, while those further away are being rejected. This filter's slope is closest to a 6db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, and it has a sharper response and sound compared to 'bnd3'. It may distort at high resonances. Typical uses are leads, vocals or - at high resonances - synthesized percussion such as kicks, wood blocks, bongos, congas, etc.
•'hiP1'; high-pass type 1. This filter's slope is closest to a 6db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use case is percussive elements.•'hiP2'; high-pass type 2. This filter's slope is closest to a 6db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical use case is percussive elements. Slightly more ringing can be observed in the output, compared to 'hiP1' and it may distort at high resonances.•'hiP3'; high-pass type 3. This filter's slope is closest to a 18db filter response. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'hiP4'. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected.•'hiP4'; high-pass type 4. This filter's slope is closest to a 18db filter response. Frequencies above the cut-off threshold are left intact, while frequencies above the cut-off threshold are rejected. A typical is percussive elements. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse and it may distort at high resonances.•'not1'; notch type 1. Frequencies around the cut-off threshold are rejected, while those further away are being kept. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse, though it has a more analog, benign, less harsh response and sound than 'not2'. Typical uses include giving subtle movement to leads, pads and bass patches by means of an LFO.•'not2'; band-pass type 2. Frequencies around the cut-off threshold are rejected, while those further away are being kept. It can be made to self resonate ("scream") and ring at high resonances depending on the input/impulse. Typical uses include giving subtle movement to leads, pads and bass patches by means of an LFO. This filter may distort at high resonances.

2. Cut.F Filter Cutoff

Specifies filter cutoff frequency.

3. rESo Resonance

Specifies filter resonance.

4. KEy.t Filter cutoff frequency key tracking

Filter key tracking; specifies how much (and in which direction) the pitch of a played note should correspond to an increase or decrease in filter cutoff.

5. FEG.d Filter Amplitude Generator depth

Defines the strength and nature of the effect of the Filter Envelope Generator (FEG). 0 causes the FEG to have no effect at all on the filter, while 127 causes full effect. A negative value defines an exponential response (power of two), while a non-negative value defines a linear response.

6. LF.rt

Defines what should happen to the cutoff frequency LFO ("Low Frequency Oscillator") when a new note is triggered;

•'FrEE' will not cause the LFO to restart•'Retr' will cause the LFO to restart•'Cond' will only cause the LFO to engage if the step that triggered the note has a valid ('when') 'FLFO' condition ('do') set.
•'rand' will start the LFO at a random phase (location in the chosen waveform)

7. C2dc Filter cutoff to decay

Using the C2dc parameter, the filter cut-off can be made to influence AEG decay.

This allows for the quintessential staccato -> long-release tension buildups found in many Trance tracks, by simply opening up the filter.

8. C2EF Filter to effects

Using the C2EF parameter, the filter cut-off can be made to influence the effect sends to reverb and delay 1.

This allows for the quintessential intimate -> wide tension buildups found in many Trance tracks, by simply opening up the filter.

9. Attk Filter Envelope Generator Attack

Attack defines the time it takes (in milliseconds) to ramp up from 0 full filter cut-off frequency (as specified by Cut.F and attenuated by FEG.d).

10. dcAy Filter Envelope Generator Decay

Decay defines the time it takes (in milliseconds) to ramp down from full filter cut-off frequency (as specified by Cut.F and attenuated by FEG.d) to the sustain level.

11. SuSt Filter Envelope Generator Sustain

Sustain defines the proportion (0-127) of full filter cut-off frequency (as specified by Cut.F and attenuated by FEG.d) that should be sustained during note on.

12. rLSE Filter Envelope Generator Release

Release defines the time it takes (in milliseconds) to ramp down from sustain level to 0. Release stage of the envelope generator is entered upon note off.

13. L.C.Wv Waveform for cutoff frequency LFO

Specifies the waveform for the cutoff frequency LFO. Available waveforms are;

•'nOiSE'; random noise
•'SinE'; sine wave (starts at 0.5, ramping up)•'tri'; triangle wave (starts at 0.5, ramping up)•'SaW'; saw wave (starts at 0.5, ramping up)
•'Sqr'; square wave (starts at 1 for a half a cycle, then switches off for half a cycle)

14. L.C.de depth for cutoff frequency LFO

Specifies the strength by which the LFO should affect the filter.

Negative values invert the waveform, causing, for example, a square wave to be 0/"off" and then 1/"on", as opposed to the being 1/"on" and then 0/"off" (or similarly a sine, triangle or saw wave ramp down, rather than up).

15. L.C.rt rate for cutoff frequency LFO

Specifies the speed by which the LFO should oscillate. Speed is specified in steps and is thus synced to your song's BPM.

16. L.C.ho hold duration for cutoff frequency LFO

Specifies the hold duration in milliseconds for which the LFO should hold the LFO's sampled value. Combined with the LFO rate this can result in various interesting rhythmic patterns due to aliasing interactions.

Amplitude modulation

Amplitude page

1. AtK.1 Amplitude Envelope Generator Attack Oscillator 1

Attack defines the time it takes (in milliseconds) to ramp up from 0 full amplitude (attenuated by AEG.d).

2. dcy.1 Amplitude Envelope Generator Decay Oscillator 1

Decay defines the time it takes (in milliseconds) to ramp down from full amplitude (attenuated by AEG.d) to the sustain level.

3. SuS.1 Amplitude Envelope Generator Sustain Oscillator 1

Sustain defines the proportion (0-127) of full amplitude (attenuated by AEG.d) that should be sustained during note on.

4. rLS.1 Amplitude Envelope Generator Release Oscillator 1

Release defines the time it takes (in milliseconds) to ramp down from sustain level to 0. Release stage of the envelope generator is entered upon note off.

5. L1.Wv LFO 1 Waveform

Specifies the waveform for oscillator 1's amplitude LFO. Available waveforms are;

•'nOiSE'; random noise
•'SinE'; sine wave (starts at 0 / 90 degree phase, ramping up)•'tri'; triangle wave (starts at 0, ramping up)•'SaW'; saw wave (starts at 0, ramping up)
•'Sqr'; square wave (starts at 1 for a half a cycle, then switches off for half a cycle)

6. L.1.de LFO1 depth

Specifies the strength by which the LFO should affect the filter.

Negative values invert the waveform, causing, for example, a square wave to be 0/"off" and then 1/"on", as opposed to the being 1/"on" and then 0/"off" (or similarly a sine, triangle or saw wave ramp down, rather than up).

7. L.1.rt rate for cutoff frequency LFO

Specifies the speed by which the LFO should oscillate. Speed is specified in steps and is thus synced to your song's BPM.

8. L.1.ho hold duration for cutoff frequency LFO

Specifies the hold duration in milliseconds for which the LFO should hold the LFO's sampled value. Combined with the LFO rate this can result in various interesting rhythmic patterns due to aliasing interactions.

9. AtK.2 Amplitude Envelope Generator Attack Oscillator 2

Attack defines the time it takes (in milliseconds) to ramp up from 0 full amplitude (attenuated by AEG.d).

10. dcy.2 Amplitude Envelope Generator Decay Oscillator 2

Decay defines the time it takes (in milliseconds) to ramp down from full amplitude (attenuated by AEG.d) to the sustain level.

11. SuS.1 Amplitude Envelope Generator Sustain Oscillator 2

Sustain defines the proportion (0-127) of full amplitude (attenuated by AEG.d) that should be sustained during note on.

12. rLS.2 Amplitude Envelope Generator Release Oscillator 2

Release defines the time it takes (in milliseconds) to ramp down from sustain level to 0. Release stage of the envelope generator is entered upon note off.

13. L2.Wv LFO 2 Waveform

Specifies the waveform for oscillator 2's amplitude LFO. Available waveforms are;

•'nOiSE'; random noise
•'SinE'; sine wave (starts at 0 / 90 degree phase, ramping up)•'tri'; triangle wave (starts at 0, ramping up)•'SaW'; saw wave (starts at 0, ramping up)
•'Sqr'; square wave (starts at 1 for a half a cycle, then switches off for half a cycle)

14. L.1.de LFO2 depth

Specifies the strength by which the LFO should affect the filter.

Negative values invert the waveform, causing, for example, a square wave to be 0/"off" and then 1/"on", as opposed to the being 1/"on" and then 0/"off" (or similarly a sine, triangle or saw wave ramp down, rather than up).

15. L.2.rt rate for cutoff frequency LFO

Specifies the speed by which the LFO should oscillate. Speed is specified in steps and is thus synced to your song's BPM.

16. L.2.ho hold duration for cutoff frequency LFO

Specifies the hold duration in milliseconds for which the LFO should hold the LFO's sampled value. Combined with the LFO rate this can result in various interesting rhythmic patterns due to aliasing interactions.

Context menu

The following context menu options are available on a track's 'AMPL' page;

•'Copy 1to2'; copies all oscillator 1 Amplitude Envelope Generator ('AEG') settings (including depth) to oscillator 2's AEG.

•'Copy 2to1'; copies all oscillator 2 AEG settings (including depth) to oscillator 1's AEG.

Pitch modulation

Pitch modulation and modification plays an important role in the Woovebox' sound synthesis engine.

It provides anything from vibrato, to "old school" arpeggios and glissando effects, to additional harmonic content complexity for FM patches.

Pitch page

1. L1.Md LFO 1 Mode

Specifies a pitch LFO source for oscillator one, and how this source should be quantized (if at all). A number of modes are available;

•nrML ("normal"); no quantization is applied•Chrd ("chord"); quantization is performed to the pitch of the nearest playing chord note. This mode is particularly useful to create chip tune "fake chord" arpeggios.•Scal ("scale"); quantization is performed to the pitch of the nearest note of the selected song scale.•SEmi ("semitone"); quantization is performed to the pitch of the nearest semitone frequency.•nrM.2 ("normal, use LFO 2"); LFO 2 is applied to oscillator one and no quantization is applied
•Chd.2 ("chord, use LFO 2"); LFO 2 is applied to oscillator one, and quantization is performed to the pitch of the nearest playing chord note. This mode is particularly useful to create chip tune "fake chord" arpeggios.•Scl.2 ("scale, use LFO 2"); LFO 2 is applied to oscillator one, quantization is performed to the pitch of the nearest note of the selected song scale.•SEm.2 ("semitone, use LFO 2"); LFO 2 is applied to oscillator one, quantization is performed to the nearest semitone frequency.

Note that applying LFO 2 to oscillator one by choosing one of the nrm.2, Chd.2, Scl.2 or SEm.2 settings is a quick and convenient way to apply the same LFO to both Osc1 and Osc2 oscillators. The freeing up of one of the LFOs this way may be used in future versions of the firmware for enhanced sound design capabilities.

2. L2.Md LFO 2 Mode

Specifies a pitch LFO source for oscillator two, and how this source should be quantized (if at all). A number of modes are available;

•nrML ("normal"); no quantization is applied•Chrd ("chord"); quantization is performed to the pitch of the nearest playing chord note. This mode is particularly useful to create chip tune "fake chord" arpeggios.•Scal ("scale"); quantization is performed to the pitch of the nearest note of the selected song scale.•SEmi ("semitone"); quantization is performed to the pitch of the nearest semitone frequency.•nrM.1 ("normal, use LFO 1"); LFO 1 is applied to oscillator two and no quantization is applied
•Chd.1 ("chord, use LFO 1"); LFO 1 is applied to oscillator two, and quantization is performed to the pitch of the nearest playing chord note. This mode is particularly useful to create chip tune "fake chord" arpeggios.•Scl.1 ("scale, use LFO 1"); LFO 1 is applied to oscillator two, quantization is performed to the pitch of the nearest note of the selected song scale.•SEm.1 ("note, use LFO 1"); LFO 1 is applied to oscillator two, quantization is performed to the nearest semitone frequency.

Note that applying LFO 1 to oscillator two by choosing one of the nrm.1, Chd.1, Scl.1 or SEm.1 settings is a quick and convenient way to apply the same LFO to both Osc1 and Osc2 oscillators. The freeing up of one of the LFOs this way may be used in future versions of the firmware for enhanced sound design capabilities.

3. O3.Lv Oscillator 3 Level

Specifies the audible level (volume) of the Oscillator 3 sine wave oscillator. Values prefixed by o1 indicate oscillator 3 should adopt the pitch and amplitude modulation (envelope generators, LFOs, etc.) of oscillator 1. Values prefixed by o2 indicate oscillator 3 should adopt the pitch and amplitude modulation (envelope generators, LFOs, etc.) of oscillator 2. A value of "MUtEe" indicates Oscillator 3 should be muted.

4. O3.Oc Oscillator 3 Octave

Specifies an octave by which the pitch should be lowered or increased, relative to the parent oscillator (as specified by O3.Lv).

5. Prt.S Portamento Speed

Specifies how quick portamento should move from one pitch to another. The speed is expressed in step durations (e.g. the speed is dependent on your song's BPM). A value of "Off" will turn off portamento.

Please note that, in order to enable portamento, both a non-"off" speed and a non-0 probability must be set.

6. Prt.P Portamento Probability

Specifies the probability portamento ("slurring") is applied when playing consecutive notes. For consistent portamento set this parameter to 100%.

Please note that, in order to enable portamento, both a non-"off" speed and a non-0 probability must be set.

7. LEG.S Legato Speed

Specifies how quick legato should move from one pitch to another. The speed is expressed in step durations (e.g. the speed is dependent on your song's BPM). A value of "Off" will turn off Legato.

Please note that, in order to enable legato, both a non-"off" speed and a non-0 probability must be set.

A special "immediate" 'iMMd' setting is available to mimic an "infinite" speed legato, which effectively removes any pitch slurring, however keeps other legato-related properties.

8. LEG.P Legato Probability

Specifies the probability legato is applied when one note is still playing while another is triggered. For consistent legato set this parameter to 100%.

Please note that, in order to enable legato, both a non-"off" speed and a non-0 probability must be set.

9. L1.Wv LFO 1 Waveform

Waveform to use for LFO 1. Available waveforms are;

•Noise (random values)•Sine wave•Triangle wave•Saw wave•Square wave

10. L1.dp LFO 1 Depth

LFO 1 depth (-4.000 to 4.000 where 0 is off). Negative values change the waveform phase 180 degrees (e.g. waveform changes polarity). This value is in octaves, e.g. the LFOs can sweep 4 octaves up and down.

11. L1.rt LFO 2 rate

Specifies the rate (in steps) in which the LFO should complete a cycle.

12. L1.Ho LFO 1 Hold

Specifies a hold time in milliseconds for which pitch LFO for oscillator 1 should hold its value.

13. L2.Wv LFO 2 Waveform

Waveform to use for LFO 2. Available waveforms are;

•Noise (random values)•Sine wave•Triangle wave•Saw wave•Square wave

14. L2.dp LFO 2 Depth

LFO 2 depth (-4.000 to 4.000 where 0 is off). Negative values change the waveform phase 180 degrees (e.g. waveform changes polarity). This value is in octaves, e.g. the LFOs can sweep 4 octaves up and down.

15. L2.rt LFO 2 rate

Specifies the rate (in steps) in which the LFO should complete a cycle.

16. L2.Ho LFO 2 Hold

Specifies a hold time in milliseconds for which pitch LFO for oscillator 2 should hold its value.

Panning

Panning page

1. Pan

Specifies where in the stereo field the the primary (static) placement of voices should.

5. P.2.Pn Pitch to Pan

Use note pitch as in input for placing voices in the stereo field.

9. AU.Wv Auto-Pan LFO waveform

Waveform for Auto-Pan LFO: Noise, Sine, Triangle, Saw, Square.

10. Auto-Pan LFO depth

Depth for the auto-pan LFO. Negative values invert the waveform.

11. AU.rt Auto-Pan LFO rate

Specifies the LFO speed, synced to the song’s BPM.

12. Au.Ho Auto-Pan LFO Hold

Specifies the hold time for the auto-pan LFO in milliseconds.

13. St.Wv Start Position LFO waveform

Waveform for Start Position LFO: Noise, Sine, Triangle, Saw, Square.

14. Start Position LFO depth

Depth for the start position LFO. Negative values invert the waveform.

15. St.rt Start Position LFO rate

Specifies the LFO speed, synced to the song’s BPM.

16. St.Ho Start Position LFO Hold

Specifies the hold time for the start position LFO in milliseconds.

Distortion

Two types of distortion are available; clip distortion and wave folding distortion.

Clipping can make sounds more aggressive or "gritty", which is useful in creating distorted guitar sounds or punchy basslines.

Fold-back distortion can produce unusual and unpredictable harmonics, which can be great for creating unique textures in electronic music or adding depth to synthetic sounds.

These distortions modify the harmonic content of the original audio, often making it richer, more complex, and suitable for various artistic or aesthetic purposes in music production and sound design.

•Positive amounts for the 'dist' parameter on a track's 'GLob' page under 12/A4, specify a traditional clipping distortion; the signal is multiplied by 2^value ("two to the power of the value") and any signal above a threshold is truncated to that threshold. These values are indicated by a 'CL' prefix.
•Negative amounts for the 'dist' parameter on a track's 'GLob' page under 12/A4,specify a fold back distortion; the signal is multiplied by 2^value ("two to the power of the value") and any signal above a threshold is folded back in a specific way to below the threshold. These values are indicated by a 'Fo' prefix.

Multi-effects

Each track has its own configurable saturation, distortion (choice of clipping or folding distortion) and bit-crushing effects.

A multi-effects block exist with configurable reverb, chorus and 2x delay units. Send amounts for reverb, chorus and the dual delay units are available per-track.

The delay unit inputs can be tapped and used as oscillators in the internal synthesizer, for intricate feedback effects.

The second delay unit can also be configured to provide a pitch shifted delay (via 4/Ar/d2.Al on a song's GLob page), allowing for pleasant overtones akin to a "shimmer" or "sparkle", depending on the patch. Its strategic use can act as an "exciter" for your tracks.

DJ FX

The Song mode's per fragment DJ FX provide further important tools to design sounds with.

For example, the DJ FX buffers can be used to silently prepare a buffer before the song starts. The buffer can then be used in the song in various creative ways. Examples include;

•reversing phrases/patterns/loops•reversing cymbals or kicks (often used to lead into new parts)•reversing a reversed-played vocal sample (see conditionals) with strong reverb, for a ghostly "sucking" effect that precedes the vocal
•buffer-locking the first step (or fraction of a step) and opening (or closing) a lowpass or high-pass filter

A word about authenticity

In this day and age of massive sample libraries, it can often be tempting to resort to samples. However, synthesizing sounds from scratch can, depending on your goals, lend a subtle authenticity, warmth, liveliness and even nostalgia to a track that is hard (impossible) to capture in a static sample; samples - by their very nature - sound the same every time they are triggered, and that is not how analog or organic timbres truly sound.

This mostly has its origins in any analog signal qualities of legacy gear that we are trying to emulate in the digital domain. Many classic sounds used up to this day (such as those from the venerable 808 or 909 drum machines) rely on noise generators. Noise generators - by definition - never output the same value; they are random number generators, so "capturing" them in a sample is impossible, unless you are okay with repeating the same random number sequence again and again.

The same goes for subtle things like small amounts of noise that inevitably make it into the voltage of analog voltage controlled oscillator (VCO) circuitry of an analog synthesizer, or having analog synthesizer designs with free-running oscillators that are gated on and off.

Ditto for emulating the sound of older samplers (such as the famous EMU Emulator series or S900/S950 used in many 80s and 90s hip-hop tracks) or 16-bit home computers, gaming consoles and arcade cabinets. Contrary to the popular practice of insertion of a simple bit-crusher to make something sound "vintage", faithful emulation requires much more subtle modifications to the signal path at the right time. That's because sound designers of the time went out of their way to do the best with what they were given, often times augmenting digital outputs with analog circuitry to hide or transform digital artifacts as best they could.

The custom-built synthesizer engine in your Woovebox pays special attention to these subtleties, giving you various means to emulate the analog signal paths of older gear. Please see the "lo-fi and analog emulation" section for more information.

As a result of this special attention to detail, your Woovebox tends to replicate the sound of the era of analog and digital fusion (late 80s - early 00s) better than many other grooveboxes.

Paraphonic parts

Non-chord tracks can still be made to play multiple notes at a time (up to four-note chords). This can be accomplished by sound-designing a paraphonic patch, or choosing one of the paraphonic presets.

A paraphonic patch is a type of synthesizer patch that allows multiple voices to be played simultaneously but not independently. This means that while multiple notes can be played at the same time, they will all be subject to the same modulation and control.

On your Woovebox, paraphonic patch sound-design is subject to some limitations with regards to oscillator selection and algorithm selection. However there are also added flexibilities.

To create a paraphonic patch, special oscillator models must be selected for the oscillator wave types ('WAvE'/1 on the 'Osc1' and 'Osc2' pages). The special oscillator models inject two pitches at once into the oscillators under certain conditions. The pitches are determined by the chord playing on the 'Cd' (chord) track; they are automatically transposed relative to playing chord's root note (therefore set 'FLCh' on the 'GLob' page to 'root'. With two oscillators per voice, this allows for a maximum of four pitches ("notes") being played simultaneously.

The following wave types are automatically transposed and modified depending on the chord playing;

•SiP1; one or two sine waves; plays the root note and if chord consists of four notes, also plays a second sine wave a the frequency of the third.
•SiP2; two sine waves; if chord consists of four notes it plays fifth and added tone, else it plays the third and fifth.
•TrP1; one or two triangle waves; plays the root note and if chord consists of four notes, also plays a second triangle wave a the frequency of the third.•TrP2; two triangle waves; if chord consists of four notes it plays fifth and added tone, else it plays the third and fifth.•SWP1; one or two saw waves; plays the root note and if chord consists of four notes, also plays a second saw wave a the frequency of the third.•SWP2; two saw waves; if chord consists of four notes it plays fifth and added tone, else it plays the third and fifth.•SqP1; one or two square waves; plays the root note and if chord consists of four notes, also plays a second square wave a the frequency of the third.•SqP2; two square waves; if chord consists of four notes it plays fifth and added tone, else it plays the third and fifth.

Note that these special oscillators otherwise behave like any other standard oscillator and can thus be combined and modified as normal. However, if the goal is to play multiple notes at once, then care must be taken to not choose algorithms that mute one of the oscillators (e.g. most algorithms except FM2 and Subtractive). The FM2 algorithm, due its "subtractive-style" mixing of the two operators (and thus avoiding muting one of the oscillators) in addition to performing frequency modulation, is a particularly useful algorithm to achieve more interesting timbres.

Because the S1P1, TrP1, SwP1 and SqP1 oscillators behave like single wave oscillators for chords that play only three notes, you can in that case freely substitute these oscillators with any other oscillators for more interesting timbres.

Multi-instrument mode

Multi-instrument mode is an alternative way of working with tracks that has a number of benefits, depending on your workflow preferences, genre preferences, and/or prior experience with music gear.

In simple terms, it allows a multi-instrument track to 'borrow' the instrument from any other track.

Multi-instrument mode allows you to;

•work with your Woovebox in a way that is a little more similar to a tracker like M8•be more efficient with DSP resources•accomplish more complex chords (beyond 4-note chords)•emulate polyphony and/or channel restrictions as found on vintage gear (for genres such as chiptune)•create high-event density loops or runs (for genres such a glitch) where sounds a cut off by other subsequent sounds

To change any bS-A8 track into a multi-channel track, on the GLob page of a track, change the 'bEhv' (under 7/hh) parameter to 'Mu.in'.

Multi-instrument mode is also available for the chord track; switching on multi-instrument mode can be accomplished by changing the 'MuIn' (Mult Inst) parameter under 7/hh on the chord track's GLob page to 'MLti'.

Whenever you program a step, the track will now allow you to specify which track it should "borrow" the instrument from; a new 'trak' parameter will appear as you cycle to the usual notE/vElo/shft/whEn/do options for a step.

For your convenience the default track it borrows the instrument from is the last track you visited before entering the current multi-instrument track. So if, for example, you visited the bS track before entering a multi-instrument track on, say, A4, then the default track instrument will be the instrument from the bS track. If, when editing a step, you change the 'trak' parameter to any other track, then that track becomes the new default for the next step you program.

Editing any sound design parameter will revert the sound back to the sound associated with the track, as will soloing/unsoloing.

Multi-instrument tracks inherit all settings from the specified 'trak' track instrument. The one exception is borrowing the instrument from the 'Cd' trak, which adopts the 'follow chord' option of the track that is hosting the multi-track instrument.

TIP: Use the 'select same' ('sLct saME') option in the sequencer ('SEq') context menu to conveniently bulk-select all steps that play on a specific track;

•find a step (e.g. hold a step's 1-16 key until it auditions its note) that plays a step on the track that you want to select all the steps for•once found, keep holding that step's 1-16 key
•still holding the step's 1-16 key, cycle step parameters until you find the 'trak' parameter•let go of the 1-16 key•open the context menu (e.g. hold write and short-press value) and cycle through the options until you find 'sLct saME' the option•action the option by still holding write and long-pressing value•still holding write, you are now editing multiple steps at once (just like regular multi-step editing), with the steps playing on the same track pre-selected for you

Risers, fallers, sweeps & ear candy

As opposed to many other grooveboxes, your Woovebox has dedicated functionality to add that little bit of extra polish to your songs through risers, fallers, sweeps and just general "ear candy".

Risers and fallers

Risers and fallers are sound effects used in music production to create a sense of tension or release. Risers are sounds that gradually increase in volume and pitch, often used to build up to a climax in a song. Fallers are the opposite, sounds that gradually decrease in volume and pitch, often used to create a sense of resolution or release. These effects are commonly used in electronic dance music (EDM) and are often created using synthesized sounds such as white noise or sweeping filters.

Preferably you would use Song modes' fragment DJ effects to program your own transitions, but your Woovebox comes with a number of riser and faller presets that you can put on one of the tracks (and, of course, you can sound-design your own effects too!).

Ear candy

"Ear candy" is a term used to describe elements in a music production that are added to enhance the overall sound or to make it more interesting and pleasing to the ear. These elements can include various sound effects, or melodic or harmonic embellishments, such as countermelodies or chord extensions. The idea is that these elements add an extra layer of interest to the music, making it more engaging and enjoyable to listen to.

Your Woovebox has a number of features that can help sound-design various types of ear candy. For example, the pitch LFO can be made to quantize its pitch to note frequencies of the currently playing chord, the currently chosen musical scale, or just the western scale.

Example

This excerpt from Omnivore's "Zephyrus' Pursuit" (one of a number of 100% Woovebox-produced tracks) demonstrates;

•a faller (the low, down-pitching sound) at a break-down•ear candy (the "whimsical" glistening bell embellishments) supporting the vocal sample
•a riser (white noise with a gradually opening filter) introducing a new part of the song

Live mode

In Live mode, your Woovebox becomes a performance instrument and classic groovebox. Live mode allows you to improvise melodies, switch tracks on and off real-time, or trigger "scenes" (pre-programmed track behaviors) to build up and a song dynamically as part of a live performance.

When connected up to other gear via wired or wireless MIDI, audio input, and/or analog sync pulse out, your Woovebox can act as the brain of a bigger setup.

To access Live mode, hold the value knob and short-press 15/A7/Live.

Toggling tracks on and off

To toggle tracks on and off, hold write and press 1/Cd-16/A8 to toggle on or off tracks. Hitting play, you should hear the tracks being played back. You can toggle on and off tracks like this during your performance.

TIP: You can carry over your configuration of muted and unmuted tracks into track/pattern edit mode, by holding the value knob and holding the track 1/Cd-16/A8 you wish to edit. In other words, this feature allows you to solo and mute tracks at will while working on your patterns and tracks.

You can play along in real-time with the tracks by playing key 1-16. The track that will be sounded when you play key 1-16, is indicated on the lower display. To change which track is sounded when you hit a key, hold play until "Slct Trak" ("select track"), then while still holding play, select track 1/Cd-16/A8 to switch to that track. The new track should now be indicated in the lower display.

Scenes

Scenes are pre-programmed track configurations that play out over a specified time. By triggering them (either immediately, or by scheduling them in the future), you build up tracks during your live performance.

To access scene programming mode, hold the value knob and short-press 15/A7/Live once or twice, until the first two characters of screen read "Sc.". To exit scene programming mode and return to Live performance ("Live") mode, press hold the value knob and short-press 15/A7/Live once more.

The number following "Sc." indicates which scene is currently active. You can program or trigger up to 16 scenes. To change the scene you are programming, hold play and press 1-16 to select scene 1-16.

Programming a scene is nearly identical to programming a song fragment in Song mode. Hold Write and press all the 1/Cd through 16/A8 tracks you wish to sound when the scene is active.

Just like editing a note in Track edit mode or editing track parameters when editing a song fragment, you can hold an active (lit up) track's key (1/Cd-16/A8) until it blinks and then cycle through the parameters you can change by short pressing the value knob.

Still holding the track's key (1/Cd-16/A8), you can change the parameter by turning the value knob.

Per track, you can change the following parameters;

•Playing behavior ("bhev");
•Pattern number ("Pttn");•Chord lock ("Cd.Lk");•Re-trigger effect ("retr");

A scene has a length associated with it, over which it plays out and then loops. Just like in other places where you specify a length, you can change the scene length by holding write and turning the value knob. The playing behavior ("bhev") you specified, plays out over the specified length as well. This allows you to program and trigger filter sweeps, fade ins and fade outs of individual tracks.

For more information on automation and re-triggering effects, please see the Song mode documentation.

Performing with Live mode

Perfoming on your Woovebox in Live mode is straightforward, powerful and rewarding.

At any time, you can play along, create melodies and improvise in real-time by playing key 1-16. The track that will be sounded when you play key 1-16, is indicated on the lower display. To change which track is sounded when you hit a key, hold play until "Slct Trak" ("select track"), then while still holding play, select track 1/Cd-16/A8 to switch to that track. The newly selected track should now be indicated in the lower display.

Before hitting play to start your performance, you may wish to activate a scene to start with (or quickly mute/unmute some tracks by holding write and selecting track 1/Cd-16/A8). Scenes are pre-programmed track configurations that play out over a specified time. For example, you can have one scene that has the kick and hi-hat playing, and another that has the kick, hi-hat and bass playing. Switching between the two scenes builds your track.

To activate the scene you wish to start with, hold play and short-press key 1-16 to choose scene 1-16. The screen will briefly show "Copy Sc." followed by the scene number you selected. You will now notice the tracks have been configured (e.g. muted and unmuted) according to the scene.You can this this during playback as well to jump between scenes and thus track configurations.

A more convenient way to switch between scenes during playback, is to schedule a scene. This makes sure that a scene is triggered when the currently playing scene is elapsed. This can avoid jarring or badly timed transitions (though sometimes jarring might be exactly the sound you are after of course). To schedule a scene transition, hold play and long-press key 1-16 to schedule scene 1-16. The display will indicate "Schd Sc." ("scheduled scene") followed by the scene number you selected. The scene will now only start playing once its starting position is synced up with the playhead. You will see the playhead going in reverse to give you a visual indication of when the new scene will trigger.

Live jamming

Despite its limitations, the Woovebox keyboard can be surprisingly expressive and very much suitable for live playing and improvising complex melodies.

Combined with legato, you can even dynamically create pitch glides; hold 1-16, then quickly play another 1-16 to slide from the first held 1-16 pitch to the second played 1-16 pitch. Note that to use glides, the patch needs to be configured to allow this. You can configure your patch on the 'Pich' (pitch) page; set Live Glide (LLGL) under 3/Ld to 'on'. Then set Legato Speed (LEG.S) under 7/hh to a value other than 0 to control the glide speed.

The way the keyboard translates key presses into note pitches, depends on how the FLW.C (follow chord) parameter on the 'Glob' (global) page is configured for your patch. For example, key presses may be automatically "pulled" toward the root note of the chord that is currently playing, or key presses may be automatically translated to the "legal" notes of the musical scale for your song. Please refer to the documentation to learn more about all the different modes at your disposal.

Song mode

"Song mode" allows you to create and arrange complete, complex songs, rather than just more basic individual patterns or loops. You can even program internal and external audio looping and overdubbing, making Song mode an extremely powerful live performance tool as well.

It allows you to create complete songs and arrangements, with the ability to easily edit and refine them as needed, making it a powerful tool for electronic music production, live performance, and beat making.

Song mode on the Woovebox is so powerful in fact, that even a single pattern per track is enough material to create a complex song with.

Song-wide settings

Two pages of parameters precede the song fragments.

Glob (song globals) page

1. bPM song tempo

Song's global tempo in beats per minute (range 80-260). Many time- or tempo-based settings and parameters derive their tempo from this one setting.

Note that BPM settings below 80 will reduce the available options for tempo-synced delay lengths. Delay lengths for the delay units (under 1/Cd and 5/Ki on the Song's effect "EFct" page) will be automatically adjusted down to accommodate very slow BPMs (and therefore very long delays).

2. root song scale root note

Song scale's root note.

3. ScaL song scale, tonality or mode

Song scale, tonality or mode. The following scales, tonalities and modes are available;

•"MAJ" Major ("Happy")•"nMin" Natural minor•"hMin" Harmonic minor ("Latin", "Spanish", "Arabic")
•"MMin" Melodic minor (Jazz, Film scoring)
•"MAPE" Major pentatonic•"MiPE" Minor pentatonic•"hirA" Hirajoshi•"MiyA" In scale / Miyako-bushi•"inSE" Insen
•"iwAto" Iwato
•"yo" Yo
•"dori" Dorian•"Phry" Phrygian•"Mi][" Mixolidyan•"Locr" Locrian•"FLAM" Flamenco•"GyPS" Gypsy•"hFdM" Half diminished•"PErS" Persian•"UkrA" Ukrainian

4. FrE.C free chord selection and playback

By default, a chord's root note will always conform to the key/scale you chose for your song upon playback (but you may still program a root note that does not fit the scale!). For example, with the default C major scale, possible chord root notes are always the white keys of an imaginary piano (e.g. C, D, E, F, G, A, B) but not the black keys.

Changing the root note of a chord by editing a step on the chord track, will normally always sound/play the closest "legal" note of your chosen key/scale/mode. So if you would, for example, choose a root note of C sharp for a song that is in the key of C major, your Woovebox will play a chord with a C root note (closest "legal" note for that scale), and not a C sharp (which is an "illegal" note for that scale).

Setting FrE.C to the 'yes' option, allows for turning this behavior off, and allow you to freely play back (not just program) chords with root notes that are out-of-scale.

5. noi.F Noise Floor

Sets a base noise floor (0-127) below which artificially introduced noise is always audible. A slight base noise floor can be instrumental in emulating vinyl or tape hiss.

6. noi.c Noise Character

Sets the character of the artificially introduced noise floor. Lower values exhibit a subtle high frequency periodicity, found in some vintage analog equipment such as record players. Higher values tend to whiter noise.

7. SEEd random number generator seed

Setting this parameter to a non-'off' value will ensure that any random events or choices in your song play out the exact same way every time. E.g. with a setting that is not 'off', the same pseudo-random sequence will be followed for random events in your song (such as conditionals) from the start of your song to the end of your song. You may choose from 32767 of these "fixed" pseudo-random sequences. For true unpredictable events, keep this setting at 'off'.

Fixing the random number generator is only applicable for songs played back in Song Mode and does not apply to Live/Scene or Track editing modes.

The SEEd parameter - if enabled - affects;

•Legato probability (8/Pc on a track's 'Pich' page)
•Portamento probability (6/Sn on a track's 'Pich' page)•LFO phase randomization for LFO retriggering of ALFO, PLFO and FLFO
•25/50/75% step trigger probability 'do' conditionals•Chord inversion randomization

8. LG.Pi legacy pitch behavior

Adopt legacy behavior for up/dn note pitch conditional for use for songs made < FW 4223.

9. MC.th Master Compressor threshold

Sets the threshold (0-100) above which the master compressor/limiter should kick in. 0 means always on (compression of any signal), 100 means always off (signal never high enough to start compression).

10. MC.rt Master Compressor ratio

Sets the compression ratio for the master compressor. A value of 1 effectively turns off the compressor. A value higher than 12 (for a 1:12 compression ratio) is generally considered to act as a limiter, rather than a compressor.

11. MC.at Master Compressor attack

Specifies how fast the master compressor/limiter should respond to the threshold being exceeded, enabling compression.

12. MC.rL Master Compressor release

Specifies how fast the master compressor/limiter should respond to the signal dipping below the threshold, disabling compression.

13. Sync analog sync pulse

Your Woovebox can output an analog sync pulse via a breakout cable plugged into the headphone jack. The pulsing starts and stops as you start or stop playback.

Note that enabling 'Sync' without using the breakout cable, may cause a faint clicking noise. Therefore, keep this setting at 'off' if the breakout cable is not in use.

See also the connecting other gear section.

14. Sm.Bk Sample Bank

Specifies sample bank that the Song will access. Your Woovebox has two sample banks (bnk.1 and bnk.2) providing ~62s worth of sampling time each. A song may only use one bank out of the two.

Switching banks will cause a short (~500ms) delay.

EFct (global song-wide multi-effects) page

This page houses settings for global song-wide multi-effects. In addition to track-specific multi-effects, each track has effect sends for global reverb, chorus, delay 1 and delay 2 effects defined on this page.

1. dL.Ln Delay 1 Length

Length of delay in beats (one beat is one quarter note) for delay unit 1. For song BPMs below 80, options will be reduced.

2. dL.Fb Delay 1 Feedback

Feedback ("repeat") strength for delay unit 1.

3. dL.Wd Delay 1 Width

Delay between left and right channel "ping-pong" for delay unit 1

4. d2.Al Delay2 Algorithm

Specifies the algorithm for the second delay unit. Choose between;

•dly (delay); standard delay, identical to delay 1•spkl (sparkle); applies ring modulation and a one octave pitch shift (up). Depending on the patch this introduces "pleasant" high frequency overtones such "sparkles" and "shimmers".

5. dL.Ln Delay 2 Length

Length of delay in beats (one beat is one quarter note) for delay unit 2. For song BPMs below 80, options will be reduced.

6. dL.Fb Delay 2 Feedback

Feedback ("repeat") strength for delay unit 2.

7. dL.Wd Delay 2 Width

Delay between left and right channel "ping-pong" for delay unit 2.

8. Vn.Cr Vinyl Crackle

The amount of emulated vinyl crackle to introduce into the mixer. Negative values for this parameter will only add vinyl crackle while the song is playing.

9. ch.SP Chorus Speed

Speed by which chorus effects unit bounces between chorus time 1 ("ch.t1") and chorus time 2 ("ch.t1").

10. ch.t1 Chorus Time 1

Time delay 1 between original signal and output signal. Chorus unit will bounce between chorus time 1 ("ch.t1") and chorus time 2 ("ch.t2") according to speed ("ch.SP").

11. ch.t2 Chorus Time 2

Time delay 2 between original signal and output signal. Chorus unit will bounce between chorus time 1 ("ch.t1") and chorus time 2 ("ch.t2") according to speed ("ch.SP").

12. ch.AL Chorus Algorithm

Specifies the algorithm that should be used for the chorus FX unit;

•'Chrs' (chorus) uses a regular stereo chorus algorithm
•'Phas' (phaser) uses a phaser algorithm

13. rv.Fb Reverb Feedback

Specifies reverb feedback, impacting how long the "tail" of a sound will be.

14. rv.tM Reverb Time

Specifies reverb time, with longer times sounding more cavernous (for example a cathedral) and short times sounding more compact (for example a studio space).

15. Hal.N North pole Hall sensor mapping

Specifies which parameter the detected south pole magnetic field strength should map to;

•'Off'; the sensor will not respond to a magnet for this polarity•'Fltr'; magnet proximity will cause filter to close for this polarity•'FLFO'; magnet proximity will cause filter LFO to modulate filter cut-off frequency for this polarity•'PLF.1'; magnet proximity will allow pitch LFO 1 to modulate for this polarity•'PLF.2'; magnet proximity will allow pitch LFO 2 to modulate for this polarity•'PL.1.2'; magnet proximity will allow pitch LFO 1 and 2 to modulate for this polarity•'Vol'; magnet proximity will cause volume to decrease
•'ALF.1'; magnet proximity will allow amplitude LFO 1 to modulate for this polarity•'ALF.2'; magnet proximity will allow amplitude LFO 2 to modulate for this polarity•'AL.1.2'; magnet proximity will allow amplitude LFO 1 and 2 to modulate for this polarity

16. Hal.S South pole Hall sensor mapping

Specifies which parameter the detected south pole magnetic field strength should map to;

•'Off'; the sensor will not respond to a magnet for this polarity•'Fltr'; magnet proximity will cause filter to close for this polarity•'FLFO'; magnet proximity will cause filter LFO to modulate filter cut-off frequency for this polarity•'PLF.1'; magnet proximity will allow pitch LFO 1 to modulate for this polarity•'PLF.2'; magnet proximity will allow pitch LFO 2 to modulate for this polarity•'PL.1.2'; magnet proximity will allow pitch LFO 1 and 2 to modulate for this polarity•'Vol'; magnet proximity will cause volume to decrease
•'ALF.1'; magnet proximity will allow amplitude LFO 1 to modulate for this polarity•'ALF.2'; magnet proximity will allow amplitude LFO 2 to modulate for this polarity•'AL.1.2'; magnet proximity will allow amplitude LFO 1 and 2 to modulate for this polarity

Fragments; arranging and building your song

Once you have created one or more patterns elements and motifs, across multiple tracks, you can sequence build-ups of these by switching to Song mode (hold value knob and short-press 16/Song).

Songs are made up of song sections ("fragments"). In a nutshell, fragments specify which tracks should be playing, which patterns these tracks should be playing, how the patterns should be played, and how long this should go on for. You can have up to 99 such fragments per song.

In Song mode, to edit and create fragments, turn the value knob the right until the screen reads "Fr.01". You can now create and edit the first fragment (fragment 01) of your song.

As said, when you song plays, the Woovebox steps through all the fragments. It does so until it encounters an "end" fragment". Fragments have a length (specify length by holding write and turning value knob) for which they play and/or effect the tracks you specify. No length (e.g. length equals zero) and no tracks enabled (e.g. all LEDs are off), means that song playback should end at that fragment.

For example to start fragment 01 off with the kickdrum and the bassline, hold write and short-press 5/Ki and then, while still holding write, short-press 2/Bs.

The kick and bass tracks now light up, indicating that they will play for the duration of this fragment.

Much like editing notes on tracks or slices in the sampler, in a Song mode fragment you can hold an active (e.g. "lit up") track and edit a number of settings. These settings include;

•Behavior ("bEhv") play, mute, or automation of fades, filters or pitch•Parameter ("ParM") parameter for the automation. This setting is not available if the setting chosen for "bEhv" is not a type of automation.
•The pattern ("Pttn") that the track should play (note that pattern chains are still respected; see below)•Chord lock ("CdLk") determines whether the track should respond to chord changes
•Retrigger Pattern ("retr") applies a special step retriggering pattern, allowing for retrigger-based variations - useful for fills, stutters and variations.

You can also use the mute 'bEhv' to line up playthrough counter-dependent conditionals, by starting playback "muted" the right amount of steps (or bars) earlier.

Use the context menu for convenience operations such as inserting, deleting or cloning a fragment.

You can use the value button to quickly move to the start of your song (first fragment), end of your song (last fragment) or last played fragment. Sort-pressing the value button once will toggle between start and end, while quick double-pressing the value button will move to the last played fragment.

You can also quickly replicate sections of your song (e.g. a sequence of multiple fragments). To do so;

•go the the fragment from where you wish to start copying•find the "SEt Copy" context menu item and action it•now go to the fragment where you want copied fragments to go•find either the "Copy Aftr" (copy, insert after current fragment) or "Copy BfrE" (copy, insert before current fragment) context menu item and action it as many times as the amount of fragments you need to copy. The index of the fragment that will be copied will be automatically increased. This mechanic allows you to copy (replicate) entire sections by just repeating "Copy Aftr" or "Copy BfrE".

Pattern chains are respected across fragments

Pattern chain playback is respected across multiple fragments. For example, if you have a chain of 4 patterns on the bS track (Pttn 1 -> 2 -> 3 -> 4 and back to pattern 1), and the bS track on fragment Fr.01 is set up to start playing at pattern 1, and fragment Fr.02 is also set up to play pattern 1, then the chain will continue where fragment Fr.01 left off when Fr.02 starts; the chain will not explicitly reset to pattern 1 (unless pattern 1 is next in the chain of course due to timing).

The UI reflects this when selecting a pattern that was already playing in an earlier fragment by displaying "..." after the selected pattern number; it indicates that a longer chain is playing that - at some stage - started with the pattern number indicated.

To break a chain forcibly (and cause it to reset explicitly to the pattern number you specify), then between the two fragments, you can insert a 0-length fragment that "temporarily" sets the pattern index to something else or "temporarily" turns off the track.

Arranging techniques and tips

There are no set rules for arranging songs, however in general, variation is key to keep the listener's attention.

A great technique is the "two loop rule" by Alex Rome - please give his YouTube channel some love. In a nutshell, the techniques calls for changing something every two loops of the chords (on the Woovebox with default settings/speed for the chord track, two loops equals 8 bars). Of course, the Woovebox' powerful conditional triggering already tends to make sure that changes take place regularly.

Behaviors and Automation

The following behaviors are at your disposal via the 'bEhv' setting;

•'PLay' (play); play sound on the track.•'MutE' (mute); mute the track, but keep any pattern play counters going. Send note-offs, close filter, reset pitch, and set volume to 0.
•'Fad.I' (fade in automation); fade in the track in whole or partially.•'Fad.O' (fade out automation); fade out the track in whole or partially.
•'FiL.O' (filter open automation); open the filter cut-off in whole or partially.•'FiL.C' (filter close automation); close the filter cut-off in whole or partially.•'Pi.UP' (pitch up automation); pitch the track up a specified amount, starting from various starting points. The pitch range is one octave.
•'Pi.Dn' (pitch down automation); pitch the track down a specified amount, starting from various starting points. The pitch range is one octave.•'SLnt' (silent); similar to 'MutE', however allows for any playing notes to ring out, rather than cutting them off immediately.•'Gatr' (gater); rhytmically mutes and unmutes the track, selecting from 10 different gating patterns.

Invoking a playing behavior for a track in a fragment, which had previously playing nothing for that track (or in other words; the track has become newly audible), behaves in a special way;

•For 'PLay'; if volume was 0 (inaudible), then volume is reset to max. If filter was closed, then the filter is reset to fully open.•For 'Fad.I'; volume is set to 0 (inaudible). If filter was closed, then the filter is reset to fully open.•For 'Fad.O'; if volume was 0 (inaudible), then volume is reset to max. If filter was closed, then the filter is reset to fully open.•For 'FiL.O'; filter is set to 0. If volume was 0 (inaudible) then volume is reset to max.•For 'FiL.C'; if filter was closed, then filter is reset to open. If volume was 0 (inaudible), then volume is reset to max.

A 'ParM' setting is available for automations such as the fade in, filter cut-off or pitching automations. This setting specifies a starting point (marked S) or an end point marked 'E'. For example 'S 41' indicates that the automation starts at 41% complete. Some examples on how this is used;

•In the case of a fade in ('Fad.I') this means that the audio starts at 41% volume and progressively creeps to 100%.•In the case of a fade out ('Fad.O'), this means that the audio starts at 41% volume and progressively creeps to 0%.•In the case of a pitch up ('Pi.UP') automation, this means that the track starts playing six semitones lower and progressively pitches up until it hits the original pitch.•In the case of a pitch down ('Pi.Dn') automation, this means that the track starts playing six semitones higher and progressively pitches down until it hits the original pitch.

In another example 'E 41' indicates that the automation ends at 41% complete. Some examples on how this is used;

•In the case of a fade in ('Fad.I') this means that the audio starts at 0% and ends at 41% volume.•In the case of a fade out ('Fad.O'), this means that the audio starts at 41% volume and progressively creeps to 0%.•In the case of a pitch up ('Pi.UP') automation, this means that the track starts playing six semitones lower and progressively pitches up until it hits the original pitch.•In the case of a pitch down ('Pi.Dn') automation, this means that the track starts playing six semitones higher and progressively pitches down until it hits the original pitch.

Automation is persistent until canceled by other automation. This means that, for example, a pitch will remain changed until another automation changes that pitch again in some other way. However, if you need to forcibly cancel any type of automation's effect, you can choose 'Cncl' for the 'ParM' setting. This will cancel any automation for the matching 'bEhv' automation. For exampl, 'Cncl' for the 'ParM' setting, will;

•set the volume to full for the fade in and out behaviors.•set the open the filter cut-off fully for the filter open and close behaviors.•set the pitch back to the normal pitch for the pitch behaviors.

If you need to cancel (e.g. reset) multiple automations (volume, filter and/or pitch), or you need to set a parameter (volume, filter and/or pitch) to a specific value, you can do so by queuing multiple 0-length fragments which complete "instantly" due to their 0-length.

Finally, the 'Parm' setting is a simple 1-14 value for the Gater ('Gatr') pattern selection rather than a percentage. The following gater patterns are available (where 1 is gate open, and 0 is gate closed across 24 divisions of a quarter note);

1111111111111000000000000211111100000011111111111131111110000001111110000004111000111000111000111000511100000000011100000000061111111111110001110001117111100111100000000111100800011100011111111111111191111110001111111111110001000011100011100011100011111111000111111111000111111121111111110000001110000001311100000000011111100000014111111111000000000111000

Re-triggering effects

A fragment's 'rEtr' parameter governs how (if at all) the chosen pattern's steps should be re-triggered.

Having a pattern re-trigger for the duration of a fragment, can quickly and conveniently create fills, stutters or variations without having to change the pattern itself.

The following re-triggering types are available;

•'OFF'; re-triggering off. No re-triggering.•'Loo.1'; keep looping/repeating step 1 (keep repeating step 1).•'Loo.2'; keep looping/repeating step 1 and 2.•'Loo.4'; keep loopoing step 1 through 4.
•'Fill'; play step 1 through 12 as normal. Instead of playing step 13 through 16 as normal, play step 1 four times.•'Stu1; stutter 1 step duration (e.g. play step 1, play step 1 again, play step 3, play step 3 again, play step 5, play step 5 again, etc.)•'Stu2; stutter 2 step duration (e.g. play step 1, play step 2, play step 1 again, play step 2 again, play step 5, play step 6, play step 5 again, play step 6 again, etc.)•'Stu4; stutter 4 step duration (e.g. play step 1 through 4, play step 1 through 4 again, play step 8 through 12, play step 8 through 12 again)•'rvSE'; reverse the pattern. Plays the pattern in reverse, starting at step 16.

All re-triggering effects assume a step length of 16 steps for each pattern.

All options have a second variant (with a dot/'.' at the end). This variant will, at the end of the relevant playback time, apply a note off and a hard mute. This mimicks a sample-based buffer lock, making sure that notes don't ring out.

Fragment DJ FX Mode

With creating and editing fragments being the backbone of Song mode, an advanced mode lets you take things even further in order to polish your final song or live performance; fragment DJ FX mode.

In a nutshell, DJ FX mode on the Woovebox gives you DAW-like control, by allowing you to manipulate the digital audio of your song as part of your song. This allows you to create effects and polish that is normally only possible after recording the full song in a DAW or live by a DJ, and then only with lots of manual work.

In practice, this means fully customizable looping-on-steroids (both internal and external audio), filters, risers, fallers, whistlers, gaters, and so much more. These are not just canned, gimmicky effects, but fully programmable and unique to your song's fragments.

Crucially, because DJ FX are part of your Song, they adapt to what is in your song dynamically - side-stepping the need to redo any resampling or recording. It ensures that the way they sound is always relevant and unique to what is going on in your song.

Needless to say, the possibilities that DJ DX open up for your songs, are rather significant.

While displaying/editing a fragment (Fr.01-Fr.99), fragment DJ mode/view is accessed by holding value and pressing A8/Song. Repeat the gesture to return to regular fragment editing mode. Note that holding the write button still allows you to see, program or remove tracks - just as you would in regular fragment editing mode/view. A different context menu with different options is available between the two modes.

Fragment DJ mode is an alternative view of a programmed fragment. In essence it provides a second page of global options for a fragment. It offers the following capabilities per fragment.

•Recording internal or external audio (with overdub) into one out of two 12s buffers.
•Playing back buffered audio with various playback options.
•Automation of mixing of buffered audio with synthesized audio.•Automation of mixing in of white noise.•Automation of mixing in of a drone sine wave, combined with automation of its pitch.•Automation of a resonant high pass or low pass DJ-style filter that can be applied to the full mix, noise only or buffer only.•Various gating patterns to apply to either the DJ FX filter enable/disable (noise, buffer playback and/or drone) or DJ FX aggregate audio output (noise, buffer playback and/or drone)

While on the surface simple, the combination of the above abilities yields a vast amount of abilities and ways to augment, modify and enhance a fragment. Uses include;

•Looping internal or external audio (with overdubbing)•Stutter build-ups•Custom riser and faller transitions using white noise, drone tone and/or DJ filter effects•Track-independent fade ins, fade outs, filter opens and filter closes•Creative reverse effects (reverse kick transitions, ghost pianos, reverse "sucking" reverb effects, etc.)•Pre-rendering complex fragments as buffers to reduce DSP load and/or free up tracks & voices•Bouncing and building audio between the two buffers•Rhythmic gating of audio
•...and many more

For your convenience, the lower four characters of the LED screen gives you a quick overview of what (if anything) is going on in the fragment.

•The first character shows which buffer - if any - is being played (either '1', '2', 'P', or '-', see below).•The last character shows which buffer - if any - is being recorded to.

In-between characters show;

•'d'; a drone is audible for this fragment
•'n'; noise is audible for this fragment•'F'; filter activity is audible for this fragment (if there is no space for the F, filter activity is indicated by the dot of the last character instead)

The played buffer indicates a 'P' when it is being prepped (see below) or '-' to indicate a buffer is inaudible to due mix start and end (1/Cd/'Mi.St. and 2/bS/'Mi.En') being set to only sounding the synthesizer (e.g. both settings are set to +127).

Initialized and uninitialized buffers

Buffers may be filled, re-recorded and/or overdubbed as your song progresses through its fragment. Therefore, jumping around in the song (for example starting in the middle of the song) can cause buffers to contain the wrong (or no) audio.

To alleviate this issue the device provides the following convenience features;

•Buffer contents persists over multiple playbacks (and even when temporarily switching songs, as long as the new song does not override the buffer contents). This means that once a buffer is recorded, you can safely skip the moment (fragment) in the song where it is recorded. So if your song "preps" a loop in the first few bars that is used throughout the song and is never overwritten, you can skip those bars in subsequent playthroughs.
•If a buffer recording is required that does not (or no longer) exists in the buffer, playback will automatically jump back to the point where that buffer is recorded. Note that this feature does not account for any bleed through (reverb tails, delay tails, release/decay components) any preceding fragments that would normally be audible.

Any fragment DJ FX settings for fragments with 0 length are ignored; recording to a buffer for a 0-length fragment will not invalidate or change a buffer.

"Prepping" a buffer before playback

One common use for DJ FX buffers, is to prep a loop or sound/effect that you will be using throughout the rest of your song. Setting buffer play mode ('b.PLy') to "PrEP" allows you to temporarily mute any audio while your Woovebox records the audio it synthesizes to the buffer.

A special "prep" behavior occurs when all of the following conditions are satisfied;

1both Mix Start and Mix End are set to -127 (e.g. buffer audio audible only)2simultaneously having b.PLy (buffer play mode) set to "PrEP"3having a b.LEn (buffer length) set to a non 0 length4recording a buffer

This special case will cause the reverb and delay buffers to be purged, and will also immediately stop any voices playing that were still in their release or decay stages. This creates a perfect silence when the next fragment is played, rather than - all of a sudden - re-enabling audio and hearing reverb/delay/decay/release tails from the previous fragment your recorded silently ('prepped'). I.e. use this behavior if you need to "prep" a buffer without its playing audio bleeding into the next fragment.

Note that a fragment that preps a buffer in this manner, is indicated by a 'P' on the display in the place of the buffer number.

Example on how to record a buffer and play it back

For a fragment;

•Set 13/A5/b.LEn buffer length. For example 4 steps.
•Set 14/A6/b.PLy playback mode. Pick a mode that plays back buffer 1.
•Set 15/A7/b.rEc record source. Pick a mode that records to buffer 1 (for example, Sy-1).

Once the fragment plays (and assuming it is producing audio), the buffer will be recorded to buffer 1 for the duration you specified (4 steps in the example). If that buffer duration is shorter than the duration of the fragment, then buffer 1 will start playback once the buffer duration has elapsed. Buffer 1 will keep looping according the mode you specified (for example, forward or reverse, or flipping between forward, then reverse).

The above example will sound like a "buffer lock". You can now, for example, apply a filter to the buffer's audio being played back, to create even more interest.

Bay Mud's buffers tutorial

https://www.youtube.com/watch?v=dCQHixYuMWM

DJ page

The DJ effects view of a fragment has the following options available.

1. Mi.St Mix Start

Mix at the start of the fragment. Value ranges from buffer only (-127) to 50:50: mix of buffer and internal synthesizer (0), to synthesizer only (127).

2. Mi.En Mix Start

Mix at the end of the fragment. Value ranges from buffer only (-127) to 50:50: mix of buffer and internal synthesizer (0), to synthesizer only (127).

3. n.V.St Noise Volume Start

Noise volume at the start of the fragment.

4. n.V.En Noise Volume End

Noise volume at the end of the fragment.

5. Gatr Gater target and pattern

Selects the gater target (DJ FX filter or DJ FX audio) and pattern.

A "gater" is an effect that rhythmically turns a signal on and off, creating a choppy or stutter-like pattern, synced to the tempo of your song.

When an Aud (audio) target pattern ("positive" values) is selected, the gater pattern is applied to any DJ FX-added audio output's volume, (e.g. rhythmically making the noise+drone+filter playback audible and inaudible), while audio from the internal synthesizer is passed unaltered. If you need the internal synthesizer's audio to gate as well, please use the individual track gater behavior when programming fragments.

When an FLt (filter) target pattern ("negative" values) is selected, the gater pattern is applied to DJ FX filtered audio output. If the gate is closed, then the behavior depending on the filter target (6/Sn/'fl.tg'), is as follows;

•'mix'; the full mix (noise+drone+buffer) is being filtered; upon gate close, only the internal synthesizer remains audible•'buff'; only any playing buffer is being filtered; upon gate close, any playing buffer becomes inaudible•'nois'; only any playing noise is being filtered; upon gate close, any playing noise becomes inaudible•'synt'; only the internal synthesizer is being filtered; upon gate close, the filter is temporarily suspended and the synthesizer will be audible unfiltered

The gater pattern numbers and behaviors are identical to those found in the fragment and scene editing of individual tracks.

6. Fl.tG Filter Target

Specifies which audio the DJ filter should be applied to. Values include;

•'MiX'; the filter is applied to the entire mix (e.g. buffer, synthesizer and noise).•'buFF'; the filter is applied to the playing buffer audio only•'Synt'; the filter is applied to the synthesizer•'noiS'; the filter is applied to the white noise generator

7. FL.St Filter Start

Filter value at the start of the fragment. Values may range from low pass (-127) to off (0) to high pass (127).

8. FL.En Filter End

Filter value at the end of the fragment. Values may range from low pass (-127) to off (0) to high pass (127).

9. d.V.St Drone Volume Start

Volume of the drone (sine wave) tone at the start of the fragment. Negative values create a stereo width effect (note that this effect, however makes the drone inaudible if mixed down to mono).

10. d.V.St Drone Volume End

Volume of the drone (sine wave) tone at the end of the fragment. Negative values create a stereo width effect (note that this effect, however makes the drone inaudible if mixed down to mono).

11. d.V.St Drone Pitch Start

Pitch of the drone (sine wave) tone at the start of the fragment in MIDI semitones. Frequencies below 25Hz (note #19 and lower) will be progressively high-pass filtered to approach 0 volume for note #0.

12. d.V.St Drone Pitch End

Pitch of the drone (sine wave) tone at the end of the fragment in MIDI semitones. Frequencies below 25Hz (note #19 and lower) will be progressively high-pass filtered to approach 0 volume for note #0.

13. b.LEn Buffer Length

Length of the buffer playback or recording in quarter notes.

14. b.PLy Buffer Play Mode

Specifies which buffer should be played and how. Options available are;

•'FWd1'; plays buffer 1 in normal ("forward") direction•'FWd2'; plays buffer 2 in normal ("forward") direction•'rvS1'; plays buffer 1 in reverse•'rvS2'; plays buffer 1 in reverse•'pin1'; plays buffer 1 forward, then in reverse, then forward again, and so on•'pin2'; plays buffer 2 forward, then in reverse, then forward again, and so on•'pon1'; plays buffer 1 in reverse, then forward, then reverse again, and so on. Note that this option is not available if the buffer is recorded on-the-fly in the same fragment.•'pon2'; plays buffer 1 in reverse, then forward, then reverse again, and so on. Note that this option is not available if the buffer is recorded on-the-fly in the same fragment.•'PrEP'; does not play any buffer at all

15. b.rEc Buffer Record Mode

Specifies which buffer should be recorded to and how. Available modes are;

•'off'; no recording•'Sy-1'; record synthesizer to buffer 1•'Sy-2'; record synthesizer to buffer 2•'Mi-1'; record mix to buffer 1•'Mi-2'; record mix to buffer 2•'Li-1'; record line input (live) audio to buffer 1•'Li-2'; record line input (live) audio to buffer 2•'oSy1'; overdub buffer 1 with synthesizer audio•'oSy2'; overdub buffer 2 with synthesizer audio•'oMi1'; overdub buffer 1 with mix audio•'oMi2'; overdub buffer 2 with mix audio•'oLi1'; overdub buffer 1 with line input (live) audio•'oLi1'; overdub buffer 2 with line input (live) audio

Working on your song and a fragment's patterns

While you have a specific fragment playing in Song mode, you can “import” that fragment’s pattern configuration (e.g. with the right patterns selected, tracks muted/playing, etc.) by holding the value button in and long-pressing the track (01/Cd - 16/A8) you wish to switch to.

After switching to that track, the fragment configuration will keep playing (minus any scheduled play effects such as filters, fades, etc.). To switch to yet another track, switch to Live mode, then repeat; e.g. hold the value button in and long-pressing the track (01/Cd - 16/A8) you wish to switch to next. And so on, and so forth. This way you can work on a fragment and hear what it would sound like in Song mode.

Note that this also works for editing scenes in Live mode.

Context menu

Song mode's 'GLob' and 'Efct' pages have a context menu with a number of globally-relevant song-related options;

•'duMP SonG' (dump song) dumps song the song as a SYSEX file to any connected MIDI devices. If connected to Wooveconnect, the SYSEX file is made available as a download, and the song is further rendered as a .WAV audio file (see also song backup, digital song and stem rendering).•'duMP StMd' (dump stems dry) dumps song the song as a SYSEX file to any connected MIDI devices. If connected to Wooveconnect, the SYSEX file is made available as a download, and the song's stems is further rendered as sixteen separate a .WAV audio files (see also song backup, digital song and stem rendering) without effects applied.•'duMP StMW' (dump stems wet) dumps song the song as a SYSEX file to any connected MIDI devices. If connected to Wooveconnect, the SYSEX file is made available as a download, and the song's stems is further rendered as sixteen separate a .WAV audio files (see song backup, digital song and stem rendering) with effects applied.•'duMP Sy][' (dump song SysEx only) dumps song the song as a SYSEX file only and does not dump samples
•'Init rand' (initialize song with random patches) clears the song in its entirety (clearing all patterns and track settings) and configures all tracks with random patches.•'Init bSic' (initialize song with basic patches) clears the song in its entirety (clearing all patterns and track settings) and configures all tracks with basic saw waves, with zeroed out parameters where appropriate.•'Init MIDI' (initialize song with random patches and MIDI-mapped tracks) clears the song in its entirety (clearing all patterns and track settings) and configures all tracks with random patches, while pre-mapping tracks 1/Cd-16/A8 to MIDI channels 1-16 (see 8/Pc/MIdI on a track's 'GLob' page).•'dSP InFo' (DSP load information) selects various modes of DSP load information display options (see understanding DSP load).•'Mirr dvcE' (device mirroring) toggles device mirroring on and off. Device mirroring is used in conjunction with Wooveconnect to show a live virtual representation of your Woovebox. Turn this option off if device mirroring is not needed in order to reduce MIDI bandwidth usage and/or congestion issues.•'norM MVoL' (normalize track master volumes) scales the Master Volume setting (as found on each track's 'GLob' page under the 1/Cd key) across all tracks evenly, so that the maximum volume used by any of the tracks is always 127 (max). This is to ensure maximum dynamic range is used. The amount raised is shown upon invocation. If the maximum dynamic range was already being used, the function returns 'IS MaX'.•'undo' (undo) reverts back to the song's state before the last save event.

Full song writing on the Woovebox

The final - and most rewarding - piece to "click" on your Woovebox, is how to write complete songs from many, just a few, or even just one pattern. This guide explains how song writing works on the Woovebox and how it was specifically designed to break you out of “cool loop” jail and propel you into song-writing with ease.

To help with creating full songs, on the Woovebox, the notion/goal of song writing is a lot more formalised than on other grooveboxes. Song mode is often an after-thought on other grooveboxes, but on your Woovebox, it is an integral part of its design. In fact, there is an implicit recipe that the workflow encourages you to follow. The end-goal is to take your audience on an emotional journey.

To do so, on the Woovebox, the idea is to create a “concentrated” narrative/theme using your patterns. Then, using Song mode, you turn this narrative/theme into a full-fledged song that tells the story and keeps the listener’s attention. Or, as one user put it;

"So far my workflow has been, make a complete "climax" loop. Break it down in song mode with fragments. Then use spare patterns to do drum variations, etc...I've also been liking conditional pitch changes allowing to squeeze longer phrases from a few patterns."

For this guide, please note that;

•the discussion of harmony and themes is obviously more applicable to some genres (pop, EDM, etc.) than others (generative ambient, avant garde, etc)•this guide assumes you know how to generally operate your Woovebox•this guide assume that you have a basic understanding of the basic Woovebox terminology such as "tracks", “patterns”, “fragments” and “song mode”•this guide assumes that you have an understanding of the step/pattern/track/song architecture (16 steps x 16 patterns x 16 tracks per song)

The Woovebox song writing recipe

On the Woovebox, your song’s narrative/"story" is;

1Underpinned by a key / scale (or mode) (2/bS/"root", 3/Ld/"ScaL" on your song's GLob page)
2Underpinned by a chord progression on the "Cd" track
3Underpinned by a rhythm on, for example the "Ki", "Sn", "hh" tracks
4Supported by a melodic theme, for example on the "Ld" and/or "Ar" tracks
5Supported by unique voices (instrumentation) to tell the story, for example by using the "Pach" page presets and - preferably - your own sound design

These 5 ingredients are rolled into one or more patterns per track.

These individual patterns on individual tracks are then served together as song fragments in Song mode. Song fragments can serve the same pattern in new/different ways (with different effects, retriggering, gating, etc.) from one fragment to the next. This lets you re-use the same pattern in new ways and in new combinations that are true to the original idea and narrative of your song.

1. Key / scale

They key / scale (or even more narrowed-down; mode) specifies the possible (out of 12) notes per octave that can occur in your song. Different collections of notes will impart a different feel/sound to your song. The feel/sound they impart can be anything from light-hearted care-free pop, to “Star Wars” / “Lord-of-the-Rings” epic, to spicy Latin, to East-European ethnic and lots more.

If you feel like shaking things up when turning on your Woovebox, changing the key/scale is one of the quickest ways to come up with something fresh and new. There is so much more beyond the default, ubiquitous Cmaj/Amin scale to explore!

2. The chord progressions

Chords are incredibly important; they make your audience “feel” something specific when listening to your music, and they set the context for everything else.

They make your song feel happy, sad, epic, serious, melancholic, and a million different emotions in between. They set the context for how your audience should understand everything else going on in your song. The key/scale influences which chords are available in your song and their subtle tonal qualities (due to how the western scale is tuned).

To illustrate how chord progressions establish context; take a vocal sample of a vocalist saying “i love you”. Set against a chord progression with major chords, the message is easily understood as celebrating love. Set progression with minor chords, the message is readily interpreted as heartache.

In fact, given the right musical/harmonic context, something as simple as “i love you” can - subject to a Western audience’s sensibilities - be interpreted with lots of nuance by your audience. Your audience may feel, the statement is about love in the face of adversity/rejection, about secret love, about lost love, etc. All without ever mentioning the context verbally; the harmonies will have taken care of clarifying the context. This is the key to powerful song writing using chord progressions.

As you are by now aware, the powerful chord following feature (4/Ar/"FLW.C") makes it extremely easy for other tracks/sounds to follow along with your chord progressions, emphasizing and/or riffing on the context you wish to convey.

3. Rhythm

The other principal component of a song is rhythm that drives the narrative forward.

A useful rule of thumb is considering rhythm in the context of mind, head, hips or feet archetypes depending on your goals are preferences;

•Mind; Rhythm can be cerebral by keeping your audience guessing (for example Jungle) or demanding active interpretation as a narrative element (for example a ticking clock).
•Head; Rhythm can be used to make it easy to bop your head to in a chair, on a couch, on the road, or on a treadmill (for example straight four-to-the-floor with side-chaining or heavy compression, possibly employing rhythm-breaking breaks/drops)•Hips; Rhythm can used to give an audience room to latch on to rhythmic elements for individual interpretative whole-body motion (for example club music with increased swing/shuffle, polyrhythms, and employing non-rhythm-breaking breaks/drops)•Feet; Rhythm can be used to simply give an audience something to dance/“shuffle”/tap/fist-pump to in a communal/social setting (patterns that are not too challenging, are less ambiguous and have predictable build-ups within their targeted genre)

Thinking in these four archetypes can let you add (or take away) ingredients that pull your song in the right direction according to your vision.

Rhythm is not just confined to percussive elements. Chromatic instruments can also convey a clear rhythm or “drive”. For example, a Moroder bassline.
The Woovebox goes through great lengths to tempo-sync a great amount of other things as well to help with rhythm. From the delay units to the LFOs and so much more.

Humans love patterns and there are loosely, two “types” of rhythm. The most obvious one is upfront, in your face, that anyone can appreciate as periodically recurring elements, for example most kicks, snares, and hi-hats.

Then there are latent rhythms that are harder to verbalise by the common person, but can be “felt” and add that deeper complexity to your song. These can take the form of simple, easily detectable polyrhythms such as basic 3-note arpeggios or can be more complex, harder to detect polyrhythms, for example a bassline pattern that is 13 steps long with lots of conditional triggering. What all these have in common that they will, at some point, repeat and sync-up if played long enough (which may be far past the run time of the song in complex cases).

Everyone’s tolerance for polyrhythms or latent rhythms is different, and what may seem random (undetectable) to some, scratches someone else’s cerebral itch. Rule of thumb, is to use prime numbers (2, 3, 5, 7, 11, 13, 17, 19, 23, 29, etc.) for things like pattern lengths, LFO rates and playthrough counters. Using combinations of larger numbers will result in more and more complex latent patterns that are harder and harder to detect consciously. E.g. when using a track with, say, a pattern length of 13, for another track pick a pattern length of 11. You will notice that it will take many, many playthroughs for the two patterns to sync up again and repeat (every 11 x 13 = 143 steps in fact; nearly 9 bars).

4. Melodic theme

A melody can be as simple as a hook, and a hook can be as simple as a few notes (as many an EDM anthem will show you). Conversely a melody can be a complex sequence that plays out over many patterns. There are no rules.

Ideally though - on the Woovebox - the melody’s components or notes can be re-used and re-arranged by making the melody’s constituent steps dependent on the playing chords. In other words, coming up with a melody while one of the “follow chord” (4/Ar/"FLW.C" on a track's "GLob" global page) modes is engaged (for example, one of the "transpose"/"trs." modes) is highly preferable. With some clever use, this is allows for further thematic development and riffing in song mode (see below).

5. Instrumentation

Similar (but much less literal) to the “i love you” vocal sample example, the timbres (instruments) you choose to do the “story telling” can take on a different emotional quality/meaning, depending on the scale and chords. For example pizzicato strings can sound playful, or - on the other end of the scale - poignant, or allude to physical phenomenon/happenings (rain, tears, drops), etc. depending on the harmonic context (chords/scale).

On a more practical/technical level, the sound design of the instruments on the Woovebox should be in service of the song, in the sense that, for example, patch timings (such as LFO rates) should serve your overall song. An example would be a filter LFO/sweep that is set to have a period (“rate”) of two bars (32 steps) - that is if synchronisation of the sweep to two bars of the song is desired of course.

The Woovebox “secret sauce”

Conditional trigger / chord-follow / tempo-sync all the things!

In traditional DAWs and grooveboxes you typically have to explicitly specify a lot of things manually; exact notes/pitches, exact timings, exact triggering. On the Woovebox these aspects are - preferably - algorithmically inferred. This means that, wherever possible, your Woovebox tries to make musical sense of the fewer pieces of data.

The result, as you likely have already found, is something called emergent complexity; simple rules interact to form a complex system that exhibits complex behaviour. It allows just a few, simple, well-considered patterns to sound complex, refined, polished and intentional, particularly once combined in your final song. All while taking much less time to put together and polish. Working any other way would be unnecessarily laborious and would get frustrating quickly on a device with just 16 buttons and a single encoder.

Using Randomisation

The Woovebox is uniquely suited to random generation, because everything interacts and adapts to everything else to “make musical sense”. So if you, like many, suffer from “blank project paralysis”, use randomisation to get you started; whether it’s chords, arpeggios, basslines, patches. At worst you won’t like the result and roll the dice again. At best you find gold. But most likely you will quickly find a potential diamond in the rough - something that you can shape into something you do like and can make your own.

Song Mode; where the full experience comes together

The preceding 5 components of your song’s narrative are laid out (arranged) in song mode. It’s where that “cool loop” gets transformed into a compelling, complex, full piece that plays out over multiple bars and minutes of music.

Song mode is where you turn up/down the temperature, expound on your narrative by giving some instruments room to tell their story in the context of others, or set up introduction or conclusions by invoking risers or fallers, beat repeat effects and filter sweeps.

For completeness sake; Song mode allows you to program a sequence of fragments, where each fragments mutes/plays/fades/filters/gates/DJ effects/chord locks any of the 16 patterns for any of the 16 tracks for a specified duration. Upon completion of a fragment duration the next fragment is played. And so on, and so forth. Pattern chaining is respected. So if you have a chain of four patterns on a track, with the first pattern of your four-pattern chain starting at pattern 1, then instructing a song fragment to start playing pattern 1, will still see it play pattern 2 once pattern 1 has completed playing, and so forth, for the duration of the fragment.

The 2-loop rule

A great rule-of-thumb for arranging your song’s fragments, is that, in order to keep the interest of your audience, something “new” needs to happen within - at most - 2 playthroughs of a loop (aka the “2-loop rule”). This “something new” can be as simple as bringing in (or dropping) an instrument, or as complex as entering a second movement with a completely new melody and/or chords from a different pattern.

Transitions are like the seasoning that makes fragments go together. For example, you can introduce instruments by a fade-in or opening a track's filters. Vice-versa, you can conclude a instrument’s part by doing a fade-out or closing its filter. Another great way to conclude a instrument’s part, is by playing it for one bar using a re-triggering effect and/or a gater effect. The latter (re-triggering and/or gating) is also a great way to get more mileage out of a pattern, as it can radically transform a pattern while still making it recognizable and “fit” the song.

In the common case of a 4-bar loop playing twice, an easy way to do a transition, is to do something different on the 8th bar (drop something, choose a retrigger pattern, etc.). To do so, make a 7 bar fragment, and clone the fragment. For the cloned fragment reduce the length to 1 bar and make your change (drop, retrigger, etc.).

Semi-automatic improvisation of melodies

There are many, many ways in which things interact to form new (but musically meaningful!) sounds. For example, if you have a chord progression and have a chord-following melody spread out over a four pattern chain, you can make your Woovebox “improvise” something new by starting the melody playback at the second, third, or fourth pattern of the chain, rather than the first. All while starting chord playback as normal E.g. this causes your melody to be “out of sync” with the chords. However, you will hear the “out of sync” melody be adapted to the playing chord (“follow chord” FTW!), which generates a brand new sequence of notes that is unique, yet seems to fit the melodic theme of your song eerily well.

Going back and forth between song mode and track (pattern creation / sequencer) mode

As you refine and build out your song, expect to go back and forth between Song mode and the individual tracks a lot.

For example, as you arrange your song from your 256 (16 patterns x 16 tracks) potential patterns, you will likely find areas in your song where you want to add or change things beyond what your current patterns contain/do. E.g. you may want to create additional patterns, or maybe make a tweak to one of the fragment’s patterns.

While you have a specific fragment playing in Song mode, you can “import” that fragment’s pattern configuration (e.g. with the right patterns selected, tracks muted/playing, etc.) by holding the value button in and long-pressing the track (01/Cd - 16/A8) you wish to switch to. After switching to that track, the fragment configuration will keep playing (minus any scheduled play effects such as filters, fades, etc.). To switch to yet another track, switch to Live mode, then repeat; e.g. hold the value button in and long-pressing the track (01/Cd - 16/A8) you wish to switch to next. And so on, and so forth. This way you can work on a fragment and hear what it would sound like in Song mode.

Using the DJ effects and dual audio loop buffer

To create and keep interest, also consider using the DJ effects and dual loop buffers. The DJ effects allow for easy build-ups and break-downs commonly created by DJs mixing tracks in real-time. Such DJ effects include typical high-pass or low-pass filtering, noise swooshes or (sine wave) drone tones and whistlers.

The dual audio loop buffer allows you to record up to two audio fragments of your playing song, and then replay that the audio, in various ways, over the top of subsequent song fragments. Typical uses include playing recorded audio in reverse, or performing buffer stutters/re-triggers. It can make your songs sound very rich and full, with lots going on, while actually freeing up tracks and DSP resources.

Sampler & vocoder

Your Woovebox includes a powerful sampler with 2m04s worth of total sampling time across a maximum of 512 samples ("slices"). Your Woovebox is also equipped with a vocoder, which allows you to imprint your voice onto anything the internal synthesizer can produce.

You can sample via the line input, import samples via Wooveconnect or have the Woovebox resample its own audio. You can restore or dump kits via MIDI and via Wooveconnect, while Wooveconnect also allows you to import .WAV files as well as TE OP-1/OP-Z drumkit .AIFF files.

The sampler supports advanced features like skip-back recording, multi-sampled instruments, slices (including auto-slicing), AKAI-style pitch shifting, time stretching and automatic tempo-to-pitch matching.

Samples act like regular oscillators in the unified synth engine for ultimate flexibility in sound design.

Adding samples via Wooveconnect

You may add samples recorded in WAV format, via Wooveconnect, by simply dragging and dropping them into your wirelessly connected device. You may also import Teenage Engineering OP-1 / OP-Z sample ("drum") kit AIFF files.

Wooveconnect will automatically analyse the .WAV file you provided, choose the most appropriate Woovebox sample format (44.1kHz 8-bit mulaw, or 22.05kHz 16-bit) for the audio's harmonic content, and upload it to the device.

Any samples you add to your Woovebox are automatically appended as a slice to the currently (or last) selected sample kit. To make sure a sample ends up in the right kit, please make the desired kit number ('US.01' through 'US.16') is active, by activating the sampler interface (hold the Value button down, then press 14/Smpl/A6) and selecting the desired kit number (hold Play and select 1-16).

If no sample kit is selected, the Woovebox will try to find the next available empty kit automatically.

Please note that any uploads or changes made in the sampler UI are committed only once you switch away from the sampler/vocoder.

If there is insufficient space in the currently selected sample bank, your Woovebox will report "no spce". In that case, please delete some slices (and commit by switch away from the sampler/vocoder).

See the Wooveconnect documentation for further details.

Levels, VU Metering & monitoring

VU ("volume unit") metering is a useful tool to ensure the levels coming into the audio input are not too soft, nor too loud. This is important for both sampling from the audio input, as well as using external audio as oscillators in the synthesizer and DJ FX looping.

To enabled or disable VU metering and incoming audio monitoring, while in the sampler or vocoder, press the play button.You should hear any incoming audio mixed down to mono. In the case of the vocoder, you should hear the vocoded audio, rather than the original audio. Since the sampler records only audio in mono, mixing down to mono can reveal any phasing issues.

•Levels that are too soft may need lots of digital amplification, which may result in a noisier end result.•Levels that are too loud will cause "clipping" (where the level is so loud that your Woovebox can no longer accurate measure it, which can result in crackles pops or bursts of noise).

Interpreting and using the VU the metering

The VU metering occupies the bottom half the screen and displays the incoming signal's amplitude for the left (upper strip) and right (lower strip) channels. LEDs are lit up from left (inaudible) to right (very loud / clipping) depending on how loud the signal is in each channel. Any maximums (spikes in the signal) will remain lit for 1 second.

Ideally, you should change the output level on the source so that the right-most LED for a channel is lit up rarely by spikes, while the remaining LEDs are lit up.

If you see a steady signal, but are not hearing anything, this can mean that there is a bias in the signal; a small voltage offset that is always present in the signal. This would require further trouble-shooting, for example by changing a faulty cable or solving grounding or ground loop issues.

Finally, please note that VU metering is not reflected in the Wooveconnect device mirroring for reasons of bandwidth reduction.

Sampling sounds from the audio input

Hold the value knob and short-press 14/A6/Sampler button to access the sampler. If needed, repeat this until you are in sampler ("SMPL") mode and not, for example, in vocoder mode ("VCdr").

Select the kit you wish to edit or record samples to by holding play and pressing 1-16 to select kit 1-16.

Connect an audio source to the audio input of your Woovebox and set the appropriate audio source and encoding by turning the value knob. You may select the from following options;

•'22.16 line'; records line-level audio at 22.05kHz 16-bit. Use this option to record generic audio, as well as audio with relatively low harmonic content such as pianos, basses, basic synthesized material, or audio with long decays or releases.•'44. 8 line'; records line-level audio at 44.1kHz 8-bit mu-law. Use this option to record "busy" audio with relatively high harmonic content, such as acoustic drums, drumloops and voice. This option emulates the vintage E-mu Emulator II sampler.•'Mic 24db'; records mic-level audio with 24db gain at 22.05kHz 16-bit. Use this option to record voice from an unamplified microphone, for example as included with the Woovebox Pro.

If desired, press the play button to monitor the input (see VU metering). Press play once more to turn off monitoring.

To record a sample, hold write and press 1-16 where you wish to record the sample to. Hold 1-16 for as long as you wish to record.

If you wish to play your sample chromatically (e.g. non just for percussion or one-shot purposes), samples should ideally be recorded as an A-note. In other words, if you wish to sample another instrument, have it play an A. However, if the material is pitched differently by a number of semitones, you can adjust the root note using a slice's pitch (Pich) parameter so that it sounds like an A.

Any recorded audio is automatically normalized (e.g. dynamic range is optimized).

Please note that any uploads or changes are committed only once you switch away from the sampler or to another sampler mode. Until that time, you can completely undo all changes made through the "Undo" in the context menu, which will restore the state of the sampler as it was before you entered it.

Using a mic; recording line level vs mic level

Ideally, the audio source should output "line level" (a smartphone, table, laptop, keyboard, the audio output of any other synthesizer gear, etc.). However, if you are in a pinch and need to record voice for further processing or wish to use the vocoder, your Woovebox can also record faint "mic level" signals as produced by unamplified microphones directly plugged into the input.

To record mic level, in the sampler turn the value knob right (for mic level) or left (for line level - default). Please note that trying to record faint mic level signals without switching the input to mic level ("Mic 24db"), will result in interference being audible in your recording.

Mic level signal amplification and filtering is performed in the digital domain; a custom-designed digital filtering algorithm removes the interference after recording a slice. As a result, a short pause (dependent on the length of the sample) occurs after recording the sample ("wait"). You will also notice all LEDs turn off during recording of mic-level sources; all unnecessary sub-systems are powered down to minimize noise and interference.

Sampling mic-level input is mostly meant for getting voice recording/input on the device for further processing (for example via the vocoder, or using the voice recordings as material for pitch and time warping). You may find it less suited to recording ambient or non-voice sounds. A fixed 300Hz - 8000Hz bandpass filter is in place to remove non-voice related frequencies and rumble.

You will typically find it is necessary to speak closely to the mic, almost touching the pop shield - much like a pro-singer of voiceover artist - to get the cleanest possible recording. The less the signal has to be amplified, the less noise will be present in the recording.

Lastly, make sure your chosen mic is able (or TRS fixed-wired) to provide a stereo signal (e.g. has its signal on both the Tip and Ring). Other signal configurations will not work.

Skip-back sampling (resampling)

Your Woovebox continuously records all audio for later use in the sampler. Launching the sampler stops the recording. The historic audio goes back 11.8 seconds or whatever the free space allows for - whichever is the lesser of the two.

To put the historic audio into the next available free slice of a kit, find and action the "skip back" context menu option. Please note that the "skip back" context menu option may be used only once per sampler session. If you need another copy of the recording, please use the "clne slce" (clone slice) context menu option.

For your convenience, upon exiting the Sampler, the skip-back sampler is "armed" (not recording yet), until it detects audio. This makes it easy to resample loops, notes and chords with perfect start points every time.

Vocoder

Hold the value knob and short-press 14/A6/Sampler button to access the sampler. If needed, repeat this until you are in vocoder ("VCdr") mode.

A vocoder works by splitting the input signal into frequency bands, extracting the amplitude envelope from each band, and applying it to a corresponding carrier signal to produce a synthesized output. This allows for the modulation of one sound source (usually a synthesized note) by the characteristics of another (typically vocals), resulting in the distinctive robotic or synthesized voice effect. Famous examples include Daft Punk's "Harder, Better, Faster, Stronger" or the Cylons ("By your command") in the original (1978) Battle Star Galactica series.

The vocoder will use the sound and pitch from the last played note (or chord) from the last used track. E.g. if you played a chord on the chord track, it will use that sound and chord. If you played a lead, it will use that sound and note pitch, etc. This will be your carrier sound.

Connect an audio source to the audio input of your Woovebox and set the appropriate audio source and encoding by turning the value knob. You may select the from following options;

•'22.16 line'; use line-level audio at 22.05kHz 16-bit as the modulator source.•'Mic 12db'; use mic-level audio with 12db gain at 22.05kHz 16-bit. Use this option to record voice from an unamplified microphone, for example as included with the Woovebox Pro.

To record a vocoded phrase or word using a voice as a modulator and the previously played synthesized sound/note/chord as a carrier, then - just like the sampler - hold write + the slice slot 1-16 you wish to record into. Say something through the mic while doing so (or play back some voice through as line in audio). Upon releasing the buttons, you should now have a vocoded sample that speaks the words from the modulator, but has the characteristics of the carrier.

A monitoring function is also available, just like in the sampler, press the play button to activate and deactivate it. Sample editing functionality is identical to regular sampler mode, and you may seamlessly switch between the sampler and vocoder mode.

What makes a good carrier

Not all sounds or patches make for good carriers. A good carrier patch has;

•lots of harmonic content for the vocoder to modulate - think "sharp" sounds like super saws, saw waves, white noise, or chords•a clearly audible sustain component, e.g. short sounds with an immediate decay (such as percussion sounds) typically won't work well as they won't give you much time to imprint your voice before they decay away

Working with slices

When you import a sample into a kit, it is appended as a slice to any existing sample for that kit to become one new long "master" sample.

A slice is a part of a master sample that can be triggered individually. You can have up to sixteen slices in a kit. Slices can play at different pitches, can be looped, and can even be played backwards.

Creating slices out of a master sample - whether manually or automatically - does not cost any extra sample memory. For example, you can have multiple slices playing the same part of the master sample, but slightly different; one slice can start a bit earlier, one a bit later, another may be playing in reverse, another may use pitch shifting or time stretching, etc. In other words, slices are instructions on how to play part(s) of the master sample, but they do not consume further sample memory.

Slices are automatically created for any samples you import/append to the kit's master sample. Slices can also automatically be created by using one of the auto slicer modes from the context menu.

You can audition slices by pressing their corresponding 1-16 buttons. The last played slice will slow-blink, signifying any slice-specific operations you choose from the context menu will apply to that slice.

For example, you can clone a slice into the next available slot by making sure the slice you wish to clone is slow-blinking (by pressing its button at least once), and then invoking the "clone slice" (CLnE Slic) option in the context menu. A successful cloning of your selected slice will report "into" followed by the number of the slot it was cloned into.

Deleting a slice works similarly to cloning a slice - select the slice to delete first and then invoke the "delete slice" (dLtE Slic) option in the context menu.

Slices can be manually fine-tuned and edited in much the same way editing of a step works in the sequencer, or editing of a track works in the live (or song) mode;

Just like editing a step in Track edit mode or editing track parameters when editing a song fragment, you can hold an active (lit up) slice's key (1/Cd-16/A8) until it blinks and then cycle through the parameters you can change by short pressing the value knob. Still holding the slice's key (1/Cd-16/A8), you can change the parameter by turning the value knob

Exactly like multi-step or multi-track editing, multi-slice editing is also possible; hold first slice 1-16 until blinking, then while still holding the slice, hold write and let go of the slice. Still holding write, select other slices 1-16. Then cycle through parameters by pressing value. Turn value to change parameter for all selected steps at once

Per slice, you can change the following parameters;

•'St.C' ('Start Coarse'); coarse starting point adjustment. Skips over areas in the sample with "low energy" such as silences.
•'St.F' ('Start Fine'); fine starting point adjustment. Skips between zero-crossings in the sample.
•'En.C' ('End Coarse'); coarse end point adjustment. Skips over areas in the sample with "low energy" such as silences.•'En.F' ('End Fine'); fine endpoint adjustment. Skips between zero-crossings in the sample.•'Mode'; playback mode override, identical to the 9/PL.Md/PLay ModE (playback mode) parameter on a track's Osc1/Osc2 pages. Any behavior specified here will override the Play Mode on a track's Osc1/Osc2 pages, but only if track behavior 7/bEhv/trak bEhv on a track's 'GLob' (track globals) page is set to 'SMPk' (sample kit) and 15/SL.SL/Slce Slct (slice select) on the track's Osc1/Osc2 pages is set to Sl1-16 or one of the multi-sample modes.•'Warp'; pitch shift and time warp mode select.
•'Pich'; pitch offset in semitones.

Start and end point positions are expressed as a percentage of the total master sample length. E.g. if you append a sample to the master sample, you will notice slices change their start and end position percentages, as the master sample has gotten longer.

A special option exists in the sampler's context menu to consolidate all slices into one big slice, representing the master sample. To action this option, find the 'Init' option and its 'MStr' (master) sub-option.

Auto-slicing

Your Woovebox can auto-slice a bigger slice into smaller slices for you.

When using auto-slice, please note that any previous slices in your kit will be deleted. However, the audio associated with them is not lost until you leave the sampler - you can always recover the audio by setting end and/or start point of a slice to encompass the audio that is available (but not currently used by any slice). A special option exists in the sampler's context menu to restore the master sample audio into one single big slice. To action this option, find the 'Init' option and its 'MStr' (master) sub-option.

To auto-slice a bigger slice into smaller slices, first press 1-16 corresponding to select the source slice you wish to auto-slice. The selected slice will slow-blink, indicating it is selected.

Via the context menu in the Sampler, your Woovebox offers two ways of auto-slicing a sample;

•'Auto'; creates up to sixteen (select number with value knob) slices based on transients it detects around roughly equally spaced points in the audio. Please note that the amount of slices is not guaranteed to meet your requested number if not enough transients can be detected.•'Even'; creates up to sixteen (select number with value knob) slices that start at different beats. This mode is useful for chopping up pre-made drumloops into evenly chopped slices for re-triggering (such as the Amen break for Jungle).

Both methods allow you to request up to to sixteen slices by selecting sub-options ('2' through to '.16') before actioning the 'Auto' or 'Even' context menu item.

Please note that the amount of slices is not guaranteed to meet your requested number if not enough transients can be detected.

Note that any slices resulting from auto-slicing inherit the properties (settings, parameters) such as playback mode and warp type from the originally selected slice.

Auto-slicing with complete sample playthrough

A second set of two to sixteen sub-options ('2>>' through to '.16>>') for 'Auto' and 'Even' can be accessed by scrolling past the initial set of sub-options. These sub-options will behave in the exact same way, except that the end point of all slices will be set to the end of the master sample. In other words, triggering the resulting slices will keep playing the full sample material from that point, rather than stopping playback where the next slice starts.

Note that you can still, of course, always change the start and end-points of your slices manually if you so wish. The '>>' options simply perform the end point setting automatically for you as a courtesy option.

This full playthrough behavior is particularly useful when programming chopped loops; it helps keep audio going, even if no slice is programmed on a subsequent step. Also consider set playback mode ('ModE') to ping-pong ('ping'). This further helps keep audio going; when a slice reaches the end of the sample material, it starts playing in reverse until it reaches the start of the slice, and so on and so forth.

Real-time pitch and time warping

Slices can be pitch shifted and time stretched in real-time, with a sound that is reminiscent of early samplers by AKAI, such as the S950 and S1000.

Amongst other things, this sound was popularized by using ultra-stretched, metallic sounding vocals and drum sounds found in many 90s Jungle , Drum and Bass, House, Garage and other EDM tracks. The Woovebox' algorithm deliberately leans into this use of pitch shifting and time stretching for creative uses.

In contrast to aforementioned hardware samplers from the 80s and 90s, and in line with its "doing more with less" goal, your Woovebox performs the warping in real-time, allowing for even more creative effects and - crucially - without "baking" those effects into the source samples. For example, you can dynamically change speed and pitch by means of an LFO (including conditional thereof), allowing the same samples (or parts thereof) to sound differently without the obvious "chip munk" effect or affecting playback speed. This can include otherworldy Window Licker-esque growls, inflections or intonations on vocals, or per-step triggerable metallic / flanger-esque effects of just a few drumloop slices.

Using time and pitch warp

A slice's 'Warp' parameter specifies how - if it all - a slice should behave in response to a programmed step's note pitch and/or length;

•'Off'; no special behavior. The slice will play faster or slower depending on a step's programmed pitch. Step length will affect the sustain component of the track as normal.
•'Pich'; the slice will a play at a programmed step's pitch, but will always play at a fixed speed. Or in other words, a step's "note" parameter only influences the playback pitch, but not the playback speed. This mode only works if the 'Warp' algorithm is active on a track. Any of oscillator 1's settings that affect pitch will affect the pitch at which the slice is played back, still retaining the same speed. Therefore, interesting pitch effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 1 as the slice is played back. Any of oscillator 2's settings will affect time. Therefore, interesting time effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 2 as the slice is played back. This mode is particularly useful for effecting vocal samples and crazy metallic effects.
•'tiME'; when triggered on a step, the slice will a play at fixed pitch (as specified by a slice's the 'pich' parameter), but will play at the speed specified by the step's pitch (where A-4 is 100% speed, A-5 is 200% speed, A-3 is 50% and so on). Or in other words, a step's "note" parameter only influences the playback speed, but not the playback pitch. This mode only works if the 'Warp' algorithm is active on a track. Any of oscillator 1's settings that affect pitch will affect the pitch at which the slice is played back, still retaining the same speed. Therefore, interesting pitch effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 1 as the slice is played back. Any of oscillator 2's settings will affect time. Therefore, interesting time effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 2 as the slice is played back. This mode is also particularly useful for effecting vocal samples and crazy metallic effects.•'Ln.V.S'; Slice pitch is automatically varied so that it perfectly stretches the playback over the duration of the step length("Ln"). No "warp" pitch correction or time stretching is applied; the slice ("S") pitch is varied ("V") to fit the step length time. As a result, the "chip munk" effect will be audible. This mode is very useful for perfectly looping full (e.g. single-slice) drumloops in time with the song's BPM. This mode works even without the 'Warp' algorithm active on a track.
•'Ln.V.M'; Slice pitch is automatically varied so that it perfectly stretches the playback over the duration of the step length ("Ln"). No "warp" pitch correction or time stretching is applied; the slice's pitch is simply varied ("V") to fit the step length time. The difference from the 'LN.V.S' mode, is that the slice's playback pitch is scaled in proportion to (e.g. in context of) the full master ("M") sample length. This mode is very useful for triggering sliced-up fragments of drumloops in time with the song's BPM. This mode is useful, for example, to trigger a chopped up Amen break in a Jungle track. This mode works even without the 'Warp' algorithm active on a track.•'Ln.C.S'; Slice time is automatically varied so that it perfectly stretches the playback over the duration of the step length("Ln"). A step's "note" parameter only influences the playback pitch, but not the playback speed. Pitch correction is applied to compensate and is therefore kept constant ("C"). As a result, the "chip munk" effect is suppressed. This mode is very useful for perfectly looping full (e.g. single-slice) drumloops in time with the song's BPM, without changing their pitch (or if desired, changing their pitch independently of their speed). This mode only works if the 'Warp' algorithm is active on a track. Any of oscillator 1's settings that affect pitch will affect the pitch at which the slice is played back, still retaining the same speed. Therefore, interesting pitch effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 1 as the slice is played back. Any of oscillator 2's settings will affect time. Therefore, interesting time effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 2 as the slice is played back. This mode is very useful for perfectly looping full (e.g. single-slice) drumloops in time with the song's BPM without changing their pitch.•'Ln.C.M'; Slice time is automatically varied so that it perfectly stretches the playback over the duration of the step length("Ln"). A step's "note" parameter only influences the playback pitch, but not the playback speed. Pitch correction is applied to compensate and is therefore kept constant ("C"). As a result, the "chip munk" effect is suppressed. The difference from the 'LN.C.S' mode, is that the slice's playback speed is scaled in proportion to (e.g. in context of) the full master ("M") sample length. This mode is very useful for triggering sliced-up fragments of drumloops in time with the song's BPM, all without changing their pitch. This mode only works if the 'Warp' algorithm is active on a track. Any of oscillator 1's settings that affect pitch will affect the pitch at which the slice is played back, still retaining the same speed. Therefore, interesting pitch effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 1 as the slice is played back. Any of oscillator 2's settings will affect time. Therefore, interesting time effects can be achieved by varying the pitch (for example using an LFO) of Oscillator 2 as the slice is played back. This mode is very useful for triggering sliced-up fragments of drumloops in time with the song's BPM. This mode is useful, for example, to trigger a chopped up Amen break in a Jungle track without changing their speed, but allowing pitch to be chosen per-triggered slice.

If using one of the 'Ln.x.x' Warp modes, hold write and turn the value knob to set the audition length. For example, if you are auditioning a 1-bar drumloop sample, set the audition length to 16 steps (one bar) to hear what the sample would sound like over the course of one bar, at your song's chosen BPM.

If the 'Warp' algorithm is active, oscillator 2's amplitude controls cycle length. Varying this length in real-time can create interesting effects such as flangers and other more metallic timbres.

Varying cycle length (as determined by oscillator 2's amplitude), whether static (by setting oscillator 2's level) or dynamic (by applying an LFO, key following or some other control), can be responsible for a number of effects, these include (but are not limited to);

•delays/echoes•metallic sounds•robot voices•flangers•phasers•chorus

As said, the Woovebox' implementation of pitch shifting and time stretching, leans heavily into using this feature for creative purposes. As such you are highly encouraged to explore this feature for sound design purposes in addition to their obvious uses.

Example; slicing up the Amen break

The Amen break is a seminal six-second drum solo that originated from the song "Amen, Brother" by the 1960s funk and soul group The Winstons. This iconic drum pattern, played by Gregory Coleman, has left an indelible mark on music history, particularly within the realms of electronic music, hip-hop, and jungle.

Renowned for its distinctive rhythmic pattern and energetic feel, the Amen break has been sampled, looped, and manipulated countless times since its emergence in the late 1960s, becoming one of the most sampled drum breaks in music history. Its influence extends far and wide, shaping the sound of genres and inspiring generations of musicians and producers around the world.

The Amen break, as well as other iconic breaks can be found in this sample pack by OaSyntax on Freesound.org. For this short tutorial, we are using the 170_amen_A_.wav sample. We are assuming it was uploaded to user kit 8 (US.08) via Wooveconnect.

Auto-slice with full playthrough

We start off with slicing the one master sample into multiple (sixteen in this case) evenly spaced slices. The goal is to be able to trigger these bits of the master sample at will.

Your Woovebox has two different auto-slicing modes. The one we will be using for chopping the Amen break, is "even slicing" ('EvEn' in the context menu). Notably we will be using the "full playthrough" option (any of the sub-options that end in '>>'). This will chop up the chosen (e.g. slow-blinking) slice (in this case our master sample) into a specified number of evenly spaced slices, which all play through to the end of the master sample. This is in contrast to the regular (non '>>' options), which just play slices up until where the next slice starts. You can of course always change the start and end-points of your slices manually if you so wish.

Now go ahead and action the 'EvEn' option and its '16>>' sub-option in the context menu.

Set ping-pong mode

Multi-select all slices (e.g. hold one slice until it fast-blinks, then hold write and let go of the slice you were holding, now - still holding write - select all 16 slices until they all fast-blink).

Still holding write, press the value knob repeatedly to select the 'ModE' parameter. Turn the value knob to set it to 'PinG'. This mode ("ping pong" mode) plays a slice to the end, and then starts playing the slice in reverse until it is back to the start of the slice. It then starts playing forward again, and so on, and so forth.

Combined with each slice playing until the end of the master sample, and playing backwards and forwards continuously, means that you will never run out of audio for the duration of the note/step you program. It will furthermore play fragments of the master sample in reverse, which can add to the sonic complexity of your new break.

Of course, if you wish to deliberately run out of audio, you can use a different slicing mode and/or turn off "ping pong" mode.

Finally, note that instead of multi-selecting and setting all resulting slices to 'PinG', we could have also just set our single master sample's mode to 'PinG' before auto-slicing it instead; auto-sliced slices inherit the mode parameter from the original slice.

Set constant length warp mode

Multi-select all slices and set the "WarP" parameter to "Ln.C.M".

This mode ensures slice time is automatically varied so that it perfectly stretches the playback over the duration of the step length("Ln") as determined by your song's BPM, and keeps the pitch constant ("C"). The difference from the "Ln.C.S" mode, is that the slice's playback speed is scaled in proportion to (e.g. in context of) the full master ("M") sample length.

Try auditioning the slices after you have set their "WarP" parameter. If your auditioning length (hold write + turn value knob) is still set to 1 (default), you should hear short bursts as the slices are "crammed into" one step's worth of time.

Instead of hearing a fast burst, set the auditioning length to 16 (e.g. one bar, which is the actual length of the Amen drumloop we uploaded) however, and you will hear the drumloop play at a more normal speed.

Set the auditioning length to 32 and you should hear the drumloop play at half the speed (e.g. the sample is stretched over 32 steps at your chosen song BPM). You will also start hearing the quintessential "metallic" artifacts that the oldschool samplers were known and - depending on who you ask - celebrated for. Many Jungle and Drum and Bass tracks rely on these artifacts to impart further interest and energy on their breaks. As you will see, you can summon these artifacts on demand once it is time to build you new break in the sequencer.

As a side note, it is worth mentioning that you can also use the "Ln.V.M" mode, which does not apply the pitch correction at all and instead modifies the pitch of the sample to accommodate the time it needs to cover. This would have been the go-to technique to sync non-sliced sampled drumloops with different BPMs before time stretching was available. You can find this behavior in earlier Jungle tracks.

You can verify your sample kit is synced to your Song's BPM by leaving the sampler, setting your song's BPM, and returning to the sampler again to audition the slices in your kit once more. You will notice your slices will have sped up or slowed down according to the change in your song's BPM.

Create and apply sample kit patch

Creating a patch out of your sample kit for applying to a track is very easy. Select and action the "make sample kit patch" functionality ("Pach Kit") from the context menu. This creates a patch and puts it into the patch buffer (the same buffer that is used to copy and paste patches between tracks and songs).

To apply it, switch to the track you wish to have your brand new sample kit on. For your convenience, the track will already scroll to the "Pach" page. From here, simply select and action the "paste patch" ("PStE Pach") function from the context menu. Your kit is now ready to be used.

Program a break

You can now program slices one through sixteen on the track's steps. Notice how note length dictates the speed with which the sample plays through, with - in our case of the Amen break - 16 being normal speed (just like the auditioning length in the Sampler).

Program a few slices on a couple of different steps, always using note length 16 to achieve a BMP-synced playback. Notice you can use a step's Pich to pitch shift the slice (still keeping the playback time constant). Large pitch shifts create the metallic artifacts that early samplers were known for, and that Junglists used to great creative effect.

Furthermore, you are strongly encouraged to further refine the patch and exploit the real-time nature of the "Warp" algorithm for greater dynamic effects and sound design; for example, the nature of the "metallic" artifacts can be changed dynamically by modifying the amplitude of Osc2 by means of its LFO. For a quick demonstration, on the amplitude (AMPL) page, program a saw wave LFO. Set 13/A5/L.2.Wv to "SaW", depth (14/A6/L.2.dE) to 64 and rate (15/A7/L.2.rt) to 6 steps. Letting the LFO run free (rather than retriggering) further help create interest. For more information see the time and pitch warping documentation.

In general, coming up with a compelling break is surprisingly easy on the Woovebox, thanks to its conditional triggering as well as automated muting generator. A single 16-step pattern can be all it takes for a complex, energetic break that plays out over many bars.

This is a very quick example of some ingredients that might go into such a break;

•To start, set note length (hold write + turn value knob) to 16 steps. Now play/select the first slice (which should be the entirety of the drumloop) and put it on step 1. As a side note, notice what happens when you change the step's pitch; the pitch of the drumloop changes without impacting the speed with which it plays back.•Grab (audition) slice 13 and program it on, for example, step 11. Due to the way we auto-sliced (16 even slices), this - in effect - starts playing the sample's 13th step early on the 11th step. Once the sample runs out, you should hear it "ping pong" in reverse for the last 2 steps to make up for the missing audio. As a side note, you will notice that - again because of the way we auto-sliced (16 even slices) - if you grab a slice number and put it on that same step, you restore the original flow of the drumloop.•Create a conditional on the first step we programmed; on the fourth playthrough ("WhEn Pth4"), perform a "2 note up" ("do UP2n") command.•Grab slice 5 and program it on step 16. Give it, for example, a x3 repeat/"ratchet" conditional ("do ][ 3") with a probability of 25%.•Grab slice 7 and program it onto "itself" (step 7), allowing us to conditionally modify it every 8th playthrough ("WhEn Pth8") and perform a "2 note up" ("do UP2n") command.•Grab slice 13 and program it onto "itself" (step 13), and program a tape stop effect that only gets triggered every 16th playthrough ("WhEn Pt16.").

And so on, and so forth. You should end up with the break from the example. For extra mayhem, you can use the pattern muting functionality, which will allow for certain slices to never trigger/take over, therefore allowing other slices to play out longer. You can also change the song's BPM and the break will still sound largely the same.

To see a more standard Amen chop being reconstructed in real-time from its source material, you can also have a look at the "Good Ol' Days" demo track .SYX in the resources section.

Multi-sampled instruments and percussion

The Woovebox sampler supports multi-sampled instruments and percussion kits.

When used chromatically (e.g. for a playable instrument like a piano), multi-sampled instruments avoid the "smurf" effect (e.g. samples sounding "unnatural" at higher or lower pitches than what they were recorded at) by sampling an instrument at different pitches. By your Woovebox intelligently switching between the different samples according to the closest pitch, the resulting instrument will sound a lot more natural when played back in your song. When further augmented with synthesis, dynamics and subtle randomness, realistic and organic renditions of accoustic instruments can be achieved.

When used for percussion, multi-sampled instruments avoid "sameness" and can help percussion parts make sound more organic by randomly selecting the sample to be played.

Creating a multi-sampled instrument

A multi-sampled instrument can have up to 16 samples, and will take up one sample kit. To create a multi-sampled instrument;

•Switch to the kit US01-US16 that you wish to use for your multi-sampled instrument.•Import or sample the different samples that were recorded at different pitches.•Edit the start and end point of the samples as necessary•If creating a chromatic kit, for each sample, modify the 'tune' parameter until auditioning the slice will play the sample at 440Hz or its multiples like 110Hz or 880Hz etc. (e.g. an "A" on the keyboard). Do this for all samples until playing all samples sounds like they are playing at the exact same "A" pitch.

Refer to "using multi-sampled instruments in your song" for instructions on how to set up a patch that uses your new multi-sampled instrument.

Using the two sample banks

Two sample banks are available with 1m02s worth of sampling time each for a total of 2m04s, however you may only use and work on one one sample bank per song.

Use SM.bK/SMPL banK/14/A6 on a song's GLob page to switch between bank 1 and bank 2.

Using samples and kits in your songs

Your Woovebox' sampler is surprisingly versatile in the way it allows you to incorporate samples into your songs - from seamlessly integrating as custom oscillators, to playing back multi-sampled instruments or tempo-corrected drumloops.

Using a sample kit

You can trigger all sixteen slices in a kit individually on each track, except on the Chord ('Cd') track.

To quickly and conveniently create a sample kit patch out of a kit;

•In the sampler, select the kit you want to use ("US.01"-"US.16").•Select and action the "Pach Kit" item in the context menu.•Your Woovebox will report "Copy OK"; it will have created and copied a sample kit patch for your selected kit into the patch buffer (the same buffer you use to copy and paste patches).•Exit the sampler by selecting the track to work on (value + 2/bS - 16/A8) where you want the sample kit to go. For your convenience, that track's "Pach" page will be selected by default already.•Select and action the paste patch ("PStE Pach") context menu item to paste the patch (with our sample kit already set up) from the buffer into the track.

Please note that the sample kit's algorithm defaults to "Warp", allowing for real-time pitch shifting and time stretching. This algorithm consumes more DSP resources than using the simpler subtractive algorithm. If you don't need the Warp algorithm, consider changing the track's algorithm (3/Ld/Algo on the track's GLob page) to subtractive ('Subt') instead.

To create a patch manually;

On any of the 2/bS-16/A8 tracks, on the track globals ('GLob') page, set the 7/'bEhv'/'trak bEhv' ("track behavior") parameter to 'SMPK' ("sample kit"). Next, on the track's patch page ('Pach'/last page), invoke the context menu to select 'Init Pach', e.g;

•Hold write and short-press (a quick press no longer than one second) the value knob to cycle through the options until you find the 'Init Pach' menu item.•Once found, long-press (a long press, longer than three seconds) the Value knob to action the item. The patch will be initialized to a default patch that suits the track's behavior and sound category. In this case, your Woovebox will report 'Init SmpK' .•Release write to exit the context menu.•The wave type for Osc1 will be set to whichever user sample kit you visited last in the Sampler.

Setting the track behavior (7/'bEhv'/'trak bEhv') to SMPK ("sample kit"), changes a track's behavior in two ways;

•Whenever you press a key to audition a sound, it will play slices 1-16 of the selected kit, rather than play a note chromatically; a little bit like the venerable AKAI MPC samplers work. You can change a programmed/recorded step's pitch through step editing. By default the slice is played back at the default pitch (the default pitch of a sample slice can be edited in the sampler mode 'Pich' parameter).
•When editing a step, you can now edit a new 'Slic' parameter, which selects the slice 1-16 that should be played at that step.

With the above behavior, it should be clear this allows you to play up to 16 different sounds on the same track, at any desired pitch.

Using a single sample chromatically

You can use any kit's slice 1-16 chromatically. In other words, you can use any kit's slice as a custom oscillator wave type.

Perform the same "Pach Kit" shortcut as you would use for a sample kit, e.g.;

•In the sampler, select the kit you want to use ("US.01"-"US.16").•Select and action the "Pach Kit" item in the context menu.•Your Woovebox will report "Copy OK"; it will have created and copied a sample kit patch for your selected kit into the patch buffer (the same buffer you use to copy and paste patches).•Exit the sampler by selecting the track to work on (value + 2/bS - 16/A8) where you want the sample kit to go. For your convenience, that track's "Pach" page will be selected by default already.•Select and action the paste patch ("PStE Pach") context menu item to paste the patch (with our sample kit already set up) from the buffer into the track.

Next, make the following modifications;

•Set the track's behavior (7/hh/bEhv on the track's GLob pgae) to sample ('SMPL') instead of sample kit ('SMPK').•Set the track's algorithm (3/Ld/Algo on the track's GLob page) to subtractive ('Subt') instead of warp.•On both the Osc1 and Osc2 pages select the sample slice you wish to use under 15/A7/SL.SL for each oscillator (you can also just use one oscillator and set the level of the other oscillator to 0).

Using a multi-sampled kit

A multi-sampled kit works by looking at the incoming desired pitch, and then determining which sample slice is the best candidate for that pitch. The pitch a sample is matched against, is set by the 'tune' parameter. Slice selection is then done automatically as follows;

1Find all slices that have a tuning ('tune') that is closest to the incoming desired pitch.2If there are multiple candidates, pick one at random (NOTE: this can be used creatively for, for example, "humanizing" percussion).3Play the found slice.

For chromatic playback

You can use any kit as a multi-sampled instrument. Or in other words; you can have your Woovebox play back different samples automatically, based on what pitch is being played. This allows for a more realistic reproduction of a sampled instrument at different pitches, avoiding the "smurf" effect.

Using a multi-sampled instrument, works almost the same as setting up a slice for chromatic playback, e.g;

Perform the same "Pach Kit" shortcut as you would use for a sample kit;

•In the sampler, select the kit you want to use ("US.01"-"US.16").•Select and action the "Pach Kit" item in the context menu.•Your Woovebox will report "Copy OK"; it will have created and copied a sample kit patch for your selected kit into the patch buffer (the same buffer you use to copy and paste patches).•Exit the sampler by selecting the track to work on (value + 2/bS - 16/A8) where you want the sample kit to go. For your convenience, that track's "Pach" page will be selected by default already.•Select and action the paste patch ("PStE Pach") context menu item to paste the patch (with our sample kit already set up) from the buffer into the track.

Next, make the following modifications;

•Set the track's behavior (7/hh/bEhv on the track's GLob pgae) to sample ('SMPL') instead of sample kit ('SMPK').•Set the track's algorithm (3/Ld/Algo on the track's GLob page) to subtractive ('Subt') instead of warp.•On both the Osc1 and Osc2 pages select either 'MSM1' or 'MSM2' under 15/A7/SL.SL for each oscillator (you can also just use one oscillator and set the level of the other oscillator to 0).

The 'MSM1' or 'MSM2' multi-sample modes differ in the following way;

•'MSM1' switches to the sample whose pitch is closest to the target pitch. This mode will result in the most natural sounding multi-sampled instrument.
•'MSM2' switches to the sample whose pitch is closest to the target pitch, but only if that sample was recorded at a higher pitch. This mode will result in multi-sampled instrument that is mostly free of aliasing.

When further augmented with synthesis, dynamics and subtle randomness, realistic and organic renditions of accoustic instruments can be achieved.

For percussion and random slice selection

For patches with 15/'SlSl/'Slce Slct' ("slice select") parameter on the Osc pages set to to either 'MSM1' or 'MSM2', slices that have the same tuning ('tune' parameter) are selected at random.

This can be used to trigger slices at random. If you have, for example, multiple sampled hits for, say, a snare, you can have your Woovebox pick one at random for greater realism.

Advanced modes and techniques

Enjoy easy tempo-perfect drum loop integration into your song, or create unique sounds with the per-step tape stop/start effect, a classic DJ technique of instantly stopping or starting playback.

Step length-based auto-pitch

Tape stop/start effect

Cutting up the Amen break

Amen break on freesound.org

https://freesound.org/people/VEXST/sounds/24940/

Expanding your Woovebox with the AKWF single cycle sample library

Kristoffer Ekstrand, aka Adventure Kid, a Swedish artist, has made available a massive library of single-cycle waveforms.

Any WAV files from his AKWF pack can be imported into your Woovebox' User sample Kits via Wooveconnect. Being only 600 samples in size each, it is an economical way to add new waveforms to your Woovebox for even more sound design fun!

Be sure to change the pitch up two semitones for each sample you import, as the samples are not recorded at A4. To do this in one go in the sampler for all slices;

•hold the first slice 1-16 you wish to change until it blinks•now hold the Write button•let go of the slice 1-16 button•now select all slices 1-16 you want to additionally change the pitch for•press the Value button to switch the attribute you are editing to "Pich"•use the Value knob to change the pitch to 2•let go of the Write button

All slices you selected will now be set to play two semitones higher, matching the pitch the AKWF pack was recorded at.

Adventure Kid's wave form pack website

https://www.adventurekid.se/akrt/waveforms/adventure-kid-waveforms/

Expanding your Woovebox with Amiga Soundtracker samples

The Commodore Amiga has had an enormous influence on electronic music.

Any WAV files from this archive of sample packs can be imported into your Woovebox' User sample Kits via Wooveconnect. These sounds add some instant retro EDM flavor to your tracks.

Be sure to change the pitch up four semitones for each sample you import, as the samples are not recorded at A4. To do this in one go in the sampler for all slices;

•hold the first slice 1-16 you wish to change until it blinks•now hold the write button•let go of the slice 1-16 button•now select all slices 1-16 you want to additionally change the pitch for•press the value button to switch the attribute you are editing to "Pich"•use the Value knob to change the pitch to 4
•let go of the write button

All slices you selected will now be set to play four semitones higher, matching the pitch the samples were recorded at.

If you wish to make your Woovebox sound like an Amiga, force the Spectrum Quality (5/'Qlty'/'Spct Qlty' on a track's 'GLob' page) for your track to 25% resolution. This emulates the fixed low pass filter that was in place on the Amiga's Paula sound chip.

Download Amiga Soundtracker Sample Packs

https://archive.org/details/AmigaSoundtrackerSamplePacksst-xx

Using Teenage Engineering OP-1 / OP-Z sample kits

Your Woovebox is partially compatible with Teenage Engineering OP-1 / OP-Z sample kit (aka "drum kit") AIFF files. Such kits can be found from different sources such as the OP1.FUN website, the SoundPacks.com website and others.

It follows that your Woovebox is also compatible with the output of OP-1/OP-Z software like the OP-1 Drum Utility by Xfer Records., as well as the on-line drum patch builder at OP1.FUN.

Please note, however, that only the first sixteen samples (out of a possible 24) from a kit will be available on your Woovebox. This means that the last eight samples - if present in the kit - will not be available once uploaded to your Woovebox.

"Teenage Engineering" and "OP-1" are registered trademarks of Teenage Engineering AB, and Pocket Animal Audio is not associated with or endorsed by Teenage Engineering.

Kit and/or master sample initialization

Through the context menu, you can initialize a sample kit in two ways;

Initialize a kit ("Init Kit")

"Init Kit" clears the master sample (audio) and clears all slices. Use this option if you wish to completely delete a kit. Note that any sample space occupied by the kit is not released until you leave the sampler. If you perform this operation to free up space first, then please leave and re-enter the sampler. This will kick-off the compaction and defragmentation process to reclaim the unused space.

Initialize master sample ("Init Mstr")

The "Init Mstr" sub-option restores the master sample audio as one single, big slice; any audio for this kit - whether allocated to a slice or not - will be restored into that one big slice. This option can be useful as an 'undo' function, for example if an auto-slice of a drum loop master sample did not yield satisfactory results.

Note that "Init Mstr" will not work for kits with mixed-format slices (for example 44.1KHz 8-bit mu-law recorded slices and 22.05KHz 16-bit recorded slices). Note also that - like all slices - there is a 11.8s length limit. If this comes into play the function will report 'Warn big'.

Backing up sample kits

To back up your sample kit, in the sampler, select your kit US.01-US.16 (hold play, and press 1-16). Then select and action "duMP Kit" from the context menu.

Sample kits are also automatically dumped as .SYX files along with your song's .SYX and - if connected via Wooveconnect - .WAV files when selecting "duMP Song", "duMP StMd", or "duMP StMW".

Auto-space reclaimer

Slices also inform your Woovebox about what part of the master sample should be retained; if part of a master sample is not used in any of the slices, it is automatically deleted to free up sample memory once you exit sampler/vocoder mode.

Therefore, if you wish to retain any part of the master sample it must be part of a slice. An easy way of ensuring the entire master sample is retained, is to create a slice that starts at 0% and ends at 100% length, therefore encompassing the entire master sample (though be mindful no one slice may be larger than 11.8 seconds).

This mechanism also allows for an implicit slice delete function; to delete a slice bring the 'St.C' ('Start Coarse') point and 'En.C' ('End Coarse') together until you have effectively a 0-length slice (indicated by '=dLtE'). The slice will now disappear. Again, note that this does not necessarily mean that space is freed up, as some other slice in your kit may be still be using that part of the master sample.

Limitations

The following limitations currently apply to the Woovebox sampler;

•Two banks with 62.4 seconds (for a total of sampling time of 124.8 seconds) each are available. However only one bank may be used in a song. Samples from the other bank will not be available for use in your song.•Recordings may be any length, however individual sample slices may not be longer than 11.8 seconds.•Samples recorded through the line-in input are sampled at 44.1KHz with 8-bit with mu-law compression (~12-bit effective dynamic range) as found in the vintage Emu Emulator II sampler. Samples with low harmonic content (e.g. sine waves, synthesized kicks) may exhibit quantization noise due the the dynamic range compression. If this is an issue, consider importing your sample via Wooveconnect. Wooveconnect-imported samples are analysed for their harmonic content, upon which the least lossy encoding scheme is chosen (44.1KHz 8-bit mulaw or 22.05KHz 16-bit).•Resampled internal sounds (via skip-back recording) are recorded at 22.05KHz 16-bit uncompressed resolution.•Mixed storage type (for example 44.1KHz 8-bit mu-law mixed with 22.05KHZ 16-bit) slices are allowed, however changing their start and end positions in the master sample will yield invalid audio if these start and end points start including audio encoded in a different format that that of the rest of the slice.

Sidechaining, gating, ducking and compression

Sidechaining, gating, ducking and compression and limiting have important roles in music production, both in final mix clarity and creative use.

Your Woovebox allows you to apply these dynamics effects per track, and implements a master compressor/limiter as well.

Compressor and limiter

In simple terms, a compressor compresses the louder parts of an audio signal and boosts the quieter parts, resulting in a more consistent level of volume throughout a song.

A compressor works by analyzing the amplitude of an audio signal and then;

•automatically reducing the level when its loudness exceeds a certain threshold (CM.th) - this is also known as downwards compression

or - in the case of the Woovebox compressors;

•automatically boosting the level when its loudness drops below a certain threshold - this is also known as upwards compression

The how strong the volume is boosted when the loudness is below the threshold, is controlled by a compressor's ratio parameter (CM.rt).

The speed by which a compressor kicks in, is governed by its 'attack' (CM.at) setting. Similarly, the speed by which it stops compressing the signal when the audio drops below the threshold, is governed by the 'release' (CM.rl) setting.

Compressors can be used to add warmth, punch, and clarity to an individual Woovebox track. Overall, a compressor is a powerful tool in music production, enabling producers to make their sound more polished and professional.

A limiter can be thought of as a more aggressive compressor; you can achieve a limiter by using a high compression ratios (> 20:1) and short attacks.

Woovebox compressor implementation

The Woovebox compressors/limiters use a mechanism loosely based on the way an analog capacitor or tube works, rather than being a millisecond on/off affair. This gives the Woovebox compressor a slightly smoother, more analog sound/behavior.

Low attack (or decay) values charge (or discharge) the virtual capacitor faster. Whether the capacitor charges or discharges is determined by whether the incoming amplitude is higher or lower than the threshold. The capacitor's virtual state of "charge" is used as measure of how strong the compressor/limiter should crunch the signal. If the capacitor is fed long enough (e.g. signal is above threshold for long enough), the compressor/limiter's ratio should approach the specified/desired ratio. If the capacitor is no longer fed (e.g. signal is below threshold), the "charge" starts dropping off and the compressor/limiter's ratio should approach 1:1 again.

The Woovebox implements upward compression, rather than downwards compression, as it allows for more predictable behavior of the maximum resulting volume; it remains precisely as set by the master volume (M.VoL setting on the GLob page), rather than being signal dependent.

Enhancing transients

Enhancing transients with a compressor in music production means emphasizing the initial, fast-moving part of a sound or a musical note. Transients are the brief moment at the beginning of a sound or musical note that determines its sharpness, attack, and impact. Compressors can be used to enhance the transients of a sound by selectively boosting the initial transient while reducing the rest of the sound.

To enhance transients using a compressor, the attack time is adjusted. The attack time determines how quickly the compressor reacts to the input signal. By setting a shorter or longer attack time, less or more of the initial high-volume sound is passed through before its volume is reduced. This has the effect of emphasizing the start of a sound ('transient') less or more.

By emphasizing the transients of a sound using a compressor, the sound becomes more pronounced and dynamic, allowing it to cut through a mix better. This technique is commonly used in genres such as electronic dance music and hip hop, where a sharp, punchy sound is desired.

Sidechaining

Sidechaining is a production technique used in a wide variety of music genres where the volume of one track, influences another track.

A most recognizable example is sidechaining a kick (as input) and some synth part or a bassline, so that the latter is muted when the kick plays. This creates a rythmic "pumping" effect. A more subtle use of sidechaining, is using to help make specific tracks of your song cut through the mix.

You can also use sidechaining to temporarily attenuate ("duck") effects like reverb and delay - again to help make specific tracks of your song cut through the mix. You can also use this as a special effect.

Example

Sidechaining off

Sidechaining used for dynamics

Sidechaining used for rythmic FX

Gating

Gating is turning on or off one sound source completely, in response to another signal. It is particularly useful for giving an otherwise mundane sound a dramatic rythmic effect.

A famous classic example is the trance gate as used by System F in Out Of The Blue (the strings pattern that plays at 1:09., is played gated starting at 1:37).

Your Woovebox is able to gate external sound sources as well, allowing you to turn external sounds and drones into exciting rhythmically pulsating tracks. With your Woovebox in control of the gate rythm, you can then make these external sound sources part of your live performance. A great example would be another band member playing guitar chords that fit the key of your song. Or you could, for example, use a YouTube performance by a channel like fretr's.

Example of a drone backing track

https://www.youtube.com/watch?v=S1FQ84YmGDg

Example

Gating off

Gating by a dedicated gate track

Ducking

"Effects ducking" refers to a technique where the volume of certain audio effects (such as reverb or delay) is automatically lowered when another audio track (usually lead or vocals) is playing.

This allows the lead or vocals to be more prominent and easier to hear, while still maintaining the desired effects in the background. This technique can be used to create a more dynamic and polished sound, by preventing the effects from overwhelming the main audio elements, and making them more subtle. It makes the overall mix less muddy.

Example

Without ducking

With ducking

Dynamics ('dyna') page

The Dynamics ('dyna') page gives you comprehensive control over the dynamics of your track; per-track sidechaining, gating, effects ducking and compression.

1. r.buS Receive Bus

Specifies which bus should be used for the signal that will control the volume attenuation for this track. Four busses are available, as well as a 'faKE' setting that fakes a pulse on every first quarter note without any input signal. The latter is quick way to mimic the "pumping" effect found in many dance tracks.

2. S.buS Send Bus

Specifies the bus to which the signal from this track should be sent.

3. S.Src Signal Source

Specifies what signal from this track should be sent to the the specified send bus. A number of different sources can act as the sidechain signal;

•nLen (note length); a signal is generated for the length of any note played on this track
•OSc1 (oscillator 1); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 1 on this track, is used as the signal•OSc2 (oscillator 2); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 2 on this track, is used as the signal•O1P2 (oscillator 1 + oscillator 2); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 1 plus oscillator 2 on this track, is used as the signal•MO12 (oscillator 1 x oscillator 2); the playing volume (amplitude) as generated by the amplitude generation block (AEG + LFO + velocity) from oscillator 1 is multiplied by that from oscillator 2 on this track, and used as the signal•Audi (audio); the audio as produced by this track, is used as the signal

4. S.Lvl Send Level

The volume/strength (0-127) of the signal generated from this track that should be sent to the send bus ('S.buS').

5. Sd.dP Sidechain Depth

Specifies how much the sidechained source (e.g. from the receive bus as specified by "r.buS") should attenuate the signal for this track.

6. Sd.Gt Sidechain Gate

Specifies how much the sidechained source (e.g. from the receive bus as specified by "r.buS") should gate the signal for this track.

7. Sd.At Sidechain Attack

Specifies how slow/fast sidechaining should kick in for this track. Use a higher number for faster attack times.

8. Sd.rL Sidechain Release

Specifies how slow/fast sidechaining should end for this track. Use a higher number for faster release times.

9. CM.Th Compressor Threshold

Specifies a threshold (0-100) below which the track's compressor should kick in.

10. CM.rt Compressor Ratio

Specifies the compression ratio for signal below the threshold. Anything above 20:1 (e.g. a value of 20) is typically considered to function as a limiter, rather than a compressor.

11. CM.At Compressor Attack

Specifies how slow/fast the compressor should kick in for this track. Use a lower number for faster attack times.

12. CM.rL Compressor Release

Specifies how slow/fast compression should end for this track. Use a lower number for faster release times.

13. Gb.du Global Multi-FX Ducking

Specifies how much this track should duck the master output of the reverb, chorus and delay units. This setting can be used to prevent a track's sound from getting lost in the song's general delay or reverb.

14. rv.du Reverb Send Ducking

Specifies how much this track's volume should duck the track's reverb send.

This allows for much more subtle reverb tails in the mix, that don't get in the way of the main sound.

15. dL.du Delay Send Duck

Specifies how much this track's volume should duck the track's delay 1 send.

This allows for much more subtle delay effects in the mix, that don't get in the way of the main sound.

16. noiS Noise Generator

Introduces post-mix, post-filter noise (as defined by the 6/noi.C/noise character parameter on the Song's Glob page) depending on the amplitude of the output of the playing voice.

Negative values exhibit a exponential response, while positive values exhibit a linear response.

A slight amount of noise can impart a more authentic analog feel, subtle sizzle, or even serve as noise for percussive sound design.

Mastering

Mastering is all about making sure each element of your song is audible, while reducing any clashing (aka "muddiness") as much as possible.

Your Woovebox offers a great number of ways to clean up your final mix or give it more punch;

•Use the master compressor to level-out loudness•Use the compressor / limiter to level-out loudness for individual tracks
•Use the compressor / limiter to do transient shaping for individual tracks•Use the effects ducking to duck the global effects in response to a track's loudness
•Use a track's ducking options to duck a its send effects amount
•Use side-chaining to control the volume of other tracks•Use the amplitude-based noise generator to add subtle sizzle to your tracks (you can select the noise characteristic 6/Sn on song Glob page, you can audition the noise with a positive value for 5/Ki on song Glob page). Negative values (exponential response to a track's amplitude) for the amplitude-based noise usually works best.•Use the third super or sub-oscillator to add "body" to a track's patch•Use wave-folding distortion to add harmonic content to a track's patch

Additionally, you may use the various panning techniques to free up frequency space in the two channels. The Pitch-to-pan feature spaces out note pitches over the stereo field, making it easy to juxtapose different tracks to efficiently use the frequency space.

Finally, use the master compressor / limiter to level out global loudness. Listen to the final mix on as many devices, headphones and speakers as you can.

Lo-fi & vintage analog and digital emulation

Your Woovebox comes with various ways of emulating vintage gear, whether analog or digital.

Analog

Your Woovebox is able to emulate the sounds of classic 60s and 70s gear based on subtractive synthesis, as well as more esoteric methods from the era like hard oscillator sync. Oscillators and envelope generators can be given a subtle drift that these synths are known for (14/'Styl'/'Osc Styl' set to any of the 'Anl' modes on the Osc1/Osc2 pages). Oscillators can be configured to be free running (set 11/'Ph.Sty'/'PhsE Strt' to 0 and 12/'Ph.rn'/'PhsE rngE' to 100% on the Osc1/Osc2 pages). All this combined provides a warmer, more organic/analog sound that is - if you want it - never 100% exactly the same and cannot be replicated by samples.

Your Woovebox' digital filters were modeled on an analog Moog-like diode ladder filter design, and implements switchable saturation that these designs were known for (11/'Satu'/'Saturate' on the Glob page). As a result, the filters sound warmer and have qualities that are more useful for sound design of vintage-like and organic timbres. A number of different filter "flavors" exist to help dial in analog sounds easier.

In a similar vein, your Woovebox was built to synthesize analog-sounding drum sounds from scratch, emulating the analog circuitry behind the 80s drum sounds that are used in EDM to this day. Here too, the sounds your Woovebox produces can be made to - just like the vintage analog drum computers - never be 100% the same on every trigger.

Digital

Your Woovebox is able to down-sample oscillators (and thus any user samples as well) and/or reduce bit depth. Downsampling results in that crunchy sound, while bit-depth reduction results in that subtle hiss in the softer parts of samples, caused by the introduced quantization error. This lets you quickly dial in the sound of, for example, early 80s drum computers or that of early home computers and gaming consoles. It is also possible to disable anti-aliasing for those quintessential extra harmonics found in early digital synthesis.

Crucially, your Woovebox can "de-crunchify" these oscillators (and user samples) again, to make them sound like they were played back by the early "professional" samplers from the late 80s and early 90s. This process faithfully emulates the signal path and its transition from "coarse" digital into the "smooth" analog domain, emulating the analog filtering circuitry that often was added after the Digital-to-Analog-Converters (DACs) to in an attempt to hide or ameliorate the digital artefacts from the raw DAC output.

If you wish to make your Woovebox sample playback sound like vintage 16-bit console or computers, force the Spectrum Quality (5/'Qlty'/'Spct Qlty' on a track's 'GLob' page) for your track to 25% resolution.

Early samplers such as the S950 and S1000 series were equipped with rudimentary pitch shifting and time stretching. These features were often (ab)used for effects purposes to transform dry drumloops or vocals to achieve otherwordly, metallic mayhem. The Jungle genre in particular tended to use this feature on the ubiquitous Amen breaks. Your Woovebox emulates this type of time-stretching in real-time, and provides you with even more creative tools that allow you to take this old-school technique to the next level.

To emulate how LFO and EG rates become "baked into" samples, a special oscillator mode can be selected (14/'Styl'/'Osc Styl' set to 'dgt.v' mode on the Osc1/Osc2 pages). This mode shortens or elongates LFO timings and EG timings according to the pitch being played. This feature is particularly important for sound design that takes advantage of this, such as when making intricate ethereal, evolving pads.

And everything in between

The inclusion of 17 different algorithms and 17 different oscillator models, most eras are covered in terms of timbres and sounds. In addition to virtual analog, your Woovebox will perform AM and FM-synthesis as popular in the early 80s, LA-like synthesis from the later 80s, while also including a late 90s super saw model.

Emulating vinyl

Vinyl emulation can help convey emotions of nostalgia or "rawness". Making your track sound like it is being played back on a turntable can impart a subtle analog authenticity to an otherwise sterile synthesized or digital song.

On the Song mode's Efct page, set Vn.Cr/9/A1 (Vinyl Crackle) to the desired level. Use a negative value to have the vinyl crackle only play when the sequencer is playing patterns or songs. A positive value will play the vinyl crackle even when no pattern or song is playing.

You can set a noise floor through 5/Ki/noi.F and a noise characteristic/type of your choice through through 6/Sn/noi.C. For increased authenticity;

•try to avoid high frequencies•create a track that has an amount of filtered white noise playing at all times; use a band pass filter to filter out very low and high frequencies until the noise sounds a little bit like the ambiance of an airliner•add a subtle filter LFO to add a subtle repeating change in the filtered noise every 1.8 seconds (for 33RPM) or 1.3 seconds (for 45RPM)
•add a pitch LFO to relevant tracks to emulate a subtle warble. Set pitch LFO resyncing off if desired (so that the warble is "free running" and does not constantly restart every time a new note is triggered). Use a sine wave or triangle wave for the LFO waveform.•enable saturation on relevant tracks•use aggressive master compression

Randomization

Guided randomization is a great way to get inspired, whether it is randomizing a pattern, entire pattern chains or even synthesizer patches (as of firmware 2682). Your Woovebox comes with a number of tools to quickly come up with something unique, yet coherent as the basis for further shaping and refining.

Randomizing events

Your Woovebox can use randomization to trigger (or not trigger) some events.

These events are;

•Legato probability (8/Pc on a track's 'Pich' page)
•Portamento probability (6/Sn on a track's 'Pich' page)•LFO phase randomization for LFO retriggering of ALFO, PLFO and FLFO
•25/50/75% step trigger probability 'do' conditionals•Chord inversion randomization

It is also possible to "lock in" a randomization for song playback (but not Live/Scene or Track editing), so that it is always the same, by specifying a randomization seed (7/hh on your song's 'GLob' page)that should be used when each song playback starts.

Randomizing a pattern

Randomizing a pattern allows you to quickly generate and shape ideas.

You can access the "rand pttn" option from the Seq page's context menu.

As of firmware 2682, patterns are more intelligently crafted to serve as material for the specific type of track you are invoking the feature on, based on it designated behavior ("bEhv"/7/hh on a track's GLob page).

For example, if you use the feature on a track with lead behavior, the feature will generate patterns more useful for crafting melodies with. If you use the feature on a bass track, it may introduce slides. If you use the feature on a kick track it may introduce conditionals, etc.

For lead tracks, try changing the various "follow chord" options (either globally 4/Ar on the Glob page) or per-pattern (9/A1 on the Pttn page). For developing a quick motif, also consider having two or four (or if you feel adventurous; three) chained lead track patterns that follow a four or eight chord progression.

Randomizing a pattern chain

Randomizing a pattern chain (as of firmware 2682) is a quick way to populate multiple patterns with a notes in a loosely connected way.

To access this option, first create a pattern chain of two or more patterns (see creating a pattern chain documentation). If the current selected pattern belongs to a chain, a "rand pt.ch" (in addition to the standard "rand pttn") option becomes available in the Seq page's context menu. Upon actioning it, the current pattern and all patterns chained to it are randomized.

For specifics on how patterns are randomized based on their track behavior ("bEhv" 7/hh on the GLob page). Note that for bass and lead tracks, the randomized riff will loosely follow through the entire chain. Therefore randomizing entire chains at once will yield somewhat more coherent results than randomizing one pattern at a time.

Randomizing a patch

Your Woovebox is able to generate an infinite number of random patches for specific categories of sounds, or for completely novel sounds.

To use the feature;

•In any track's Pach page, find 'rand Pach' in the context menu (hold write, and short press the value button until you find the 'rand Pach' item).•Keep holding write.
•Action the item by long pressing the value button.•Your Woovebox will report 'rand OK', and the track's patch has now been replaced with a suitable randomly generated sound.

The types of patches it comes up with are intelligently customised for the track's sound category. So, for example, if your track's sound category is a bass, the patch generator will generate a random bass patch.

Choosing the "I Feel Lucky" ('Luky') sub-option (by turning the value knob while you have the 'rand Pach' option up) generates patches that are even more wild and exotic. Note that these patches are no longer guaranteed to fit the current sound category. For example, this option may generate a percussive (non-chromatically playable) patch on a lead track.

Just like with trying out presets, remember you can always restore your previous patch by dialing up the "undo" item from any of the preset categories.

TIP 1: If you find a nice patch but want to keep exploring, you can copy the patch into the patch buffer by actioning the 'Copy Pach' item in the context menu.

TIP 2: If you find a nice sound through the "I Feel Lucky" option, but it is not currently set up for chromatic playing. Then see if setting the key follow (13/A5 on Osc1/Osc2 pages) pages to 100% helps. You may also need to set the fine detune (4/Ar on Osc1/Osc2 pages) to 0.

Hall effect sensor playing

Your Woovebox comes equipped with a Hall effect sensor that lets you use magnets to effect/accentuate played notes. This allows for expressive playing during live performances (for example, mimicking the ethereal sound of a Theremin).

How it works

A Hall effect sensor detects the strength and polarity of magnetic fields. Your Woovebox can map detected field strengths and polarities to a playing track's patch parameters. Therefore, by moving a small magnet closer or further away from your Woovebox, you can dynamically influence configurable parameters such as filter cutoff, volume, amplitude or pitch LFOs.

By presenting the different poles (e.g. North or South) up to two distinct parameters can be effected with just one magnet. Having two magnets attached to each other side-by-side, or sliding a bar magnetic back and forth also allows for a convenient way to quickly switch between effects by sliding the right pole into "view" of the sensor.

Sensor location

Conveniently the sensor is located on the backside of the unit in the bottom right (when viewed as held in-hand, under the "e" of the woovebox mark), or bottom left corner (when viewed from the back). On later devices, the location of the Hall sensor is indicated by a magnet icon.

This location allows for two handed playing, while simultaneously manipulating one or magnets around the back of the unit using the free fingers of your right hand. Depending on your preferences, the magnets may be loose, may be fixed to your fingers (for example using a magnetic so-called "magician's ring"), or may be tucked in between two fingers (for example using a USB-C magnetic dust cap).

Please try to avoid making physical contact with the Woovebox housing to avoid scratches; making contact with the housing is not necessary for triggering the full parameter range.

Recommended magnets

For best results, bigger, stronger magnets (for example Neodynium-based magnets, or multiple "ganged up" smaller magnets) are recommended in any convenient form factor. Stronger magnets give you a slightly bigger distance to control your Woovebox' parameter range over for more subtle control. Combining multiple, smaller magnets will allow you to create different shapes and strengths to try out.

Calibration

If the Hall effect sensor playing option is used, the sensor is automatically calibrated to the detected strength of the magnet(s) presented. To pre-calibrate the sensor before live playing, simply present the two poles close to the housing and calibration will be complete.

Setting up the Hall effect sensor

To configure the effects that the two polarities should have, the following settings are available on the Song's Efct page under 15/A7 and 16/A8 for North and South poles respectively;

•'Off'; the sensor will not respond to a magnet for this polarity•'Fltr'; magnet proximity will cause filter to close for this polarity•'FLFO'; magnet proximity will cause filter LFO to modulate filter cut-off frequency for this polarity•'PLF.1'; magnet proximity will allow pitch LFO 1 to modulate for this polarity•'PLF.2'; magnet proximity will allow pitch LFO 2 to modulate for this polarity•'PL.1.2'; magnet proximity will allow pitch LFO 1 and 2 to modulate for this polarity•'Vol'; magnet proximity will cause volume to decrease
•'ALF.1'; magnet proximity will allow amplitude LFO 1 to modulate for this polarity•'ALF.2'; magnet proximity will allow amplitude LFO 2 to modulate for this polarity•'AL.1.2'; magnet proximity will allow amplitude LFO 1 and 2 to modulate for this polarity

Suggested uses

Some suggested expressive uses include;

•Expressing vibrato (control pitch using one of the PLxx settings)
•Expressing tremolo (control amplitude using one of the ALxx settings)
•Expressively controlling filter cut-off on, for example, a 303-like bassline
•Influencing the modulator oscillator in an FM patch to affect the timbre (see below)

TIP: If you wish to control amplitude (e.g. ALFO) or pitch (PLFO) for one specific oscillator, you set an LFO's rate to a very long 256 steps, setting the LFO waveform to square, setting depth to the maximum positive number, and setting LFO retrigger ("A.L.tr" under 6/Sn) or ("P.L.tr" under 7/hh) on the Osc 1/2 page to retrigger (so the 256-step rate LFO waveform starts "on" anew on every note trigger).

Advanced techniques

The Woovebox is an incredibly versatile device that can help you re-create complex music production and sound design techniques. With its powerful capabilities, you can create advanced tremolo and vibrato effects as well as intricate delay effects to give your music an extra layer of depth. Learn to use the Woovebox to its fullest potential and bring your music production to the next level!

Trance buildups

Using the C2dc (7/hh) and C2EF (8/Pc) parameters on the filter page, the filter cut-off can be made to influence AEG decay and reverb+delay 1 depth respectively.

This allows for the quintessential intimate/staccato -> wide/long-release buildups found in many Trance tracks, by simply opening up the filter.

Conditional tremolo and vibrato

The amplitude LFO and pitch LFO for each oscillator can be set to only trigger only if a step is accompanied by the 'ALFO' or 'PLFO' conditionals.

On the OSc1 and/or OSc2 pages, set the 6/Sn/A.L.tr ("amplitude LFO trigger") for conditional tremolo, or the 7/hh/P.L.tr ("pitch LFO trigger") for conditional vibrato. to "Cond" ("conditional"). This allows for setting up a patch that exhibits tremolo (amplitude modulation) or vibrato (pitch modulation) only when the 'ALFO' or 'PLFO' conditionals are encountered.

Advanced delay effects

Your Woovebox comes with a dual delay unit. The output of either unit can be tapped and used as an oscillator in any patch by choosing it as an oscillator wave type. By feeding back one delay's output to another while modifying the signal in between (for example filtering), complex and interesting delay effects can be achieved, such as the quintessental "dub" delay effect where each subsequent echo is filtered differently (usually by a high-pass filter).

The second delay unit can also be configured to provide a pitch shifted delay algorithm (via 4/Ar/d2.Al on a song's GLob page), allowing for pleasant overtones akin to a "shimmer" or "sparkle", depending on the patch. Using the pitch shifted delay with a very small delay time can, for example, be used to simulate sympathetic string resonance for a synthesized piano patch.

Arbitrary pulse width and Pulse Width Modulation (PWM)

Pulse widths of arbitrary duration, as well as pulse width modulation can be achieved by using the ring modulation ('rinG') algorithm.

Set the oscillator one and two produce square waves of equal volumes.

A classic pulse width modulation can be achieved by using the ring modulation ('rinG') algorithm. Set phase start and phase range

The pulse width (duty cycle) can be selected by modifying phase start of one of the oscillators. NES duty cycles are Phase Start 4, 8, 16 and 24. Use 0 or 32 for full square waves. The pulse channels may be effected by AEG decay or release (but not both). When applying AEG decay or release, make sure to apply to both. Set AEG response to exponential (negative values for AEG1 Depth and AEG2 Depth).

Undo

If you made a mistake or changed your mind on a decision, you will be happy to know your Woovebox has some limited undo functionality.

You can revert to the last saved state of your song, by choosing 'Undo' from the context menu on any song's global ('GLob') page. This works even if you turned off your Woovebox or if you uploaded another song to your Woovebox. This Undo functionality does not cover the Sampler however, as samples and sample kits are separate to songs, so it does not restore sample kits.

Sampler mode has its own undo functionality however; you may select 'Undo' from the context menu to revert back to the state when you entered Sampler mode. Please note however that the Sampler's undo state is lost as soon you exit Sampler mode.

Boot modes

By holding down one or more buttons while turning on the device, your Woovebox can be put into several different modes and special states.

1/Cd BLE enable

To start your Woovebox with BLE enabled, keep the 1/Cd key pressed while switching on the device. The display reads 'boot bLE' instead of the usual boot up sequence.

2/bS BLE enable in compatibility mode

To start your Woovebox with BLE enabled in compatibility mode, keep the 2/bS key pressed while switching on the device. The display reads 'boot bLE' instead of the usual boot up sequence.

Compatibility mode works around some severe bugs in some recent Android and iOS phones by permitting looser timings and avoiding extended advertising packets.

2/bS + value Recovery mode

In the very unlikely event of some sort of catastrophic data corruption causing a boot loop, the device can be booted with BLE compatibility mode enabled, but without loading any data (songs, samples) and with its sound engine disabled. To do so, hold the 2/bS key and value knob pressed in while powering up the device.

3/Ld + value Delete all samples

Please note that the following procedure will cause all sample data on the device to be lost!

To delete all samples on your Woovebox, keep the 3/Ld key as well as value knob pressed while switching on the device.

4/Ar + value Factory reset

Please note that the following procedure will cause all data (songs, samples, patches) on the device to be lost!

To reset your Woovebox to its factory settings, keep the 4/Ar key as well as value knob pressed while switching on the device.

5/Ki Boosted screen brightness / LED test / firmware version

By keeping 5/ki pressed while turning the device on, screen and LED brightness can be temporarily increased from its default brightness. This may be useful if the default brightness is insufficient (for example in sunny outdoor scenarios). Turn the value knob to change the brightness. Press the value knob to continue the boot sequence (which should normally amount to a 1-2 second delay before dropping into Song mode). The device will display the firmware version it is running, until the boot sequence is complete.

6/Sn Increase capacitive button sensitivity

By keeping 6/Sn pressed while turning the device on, sensitivity of the capacitive buttons can be temporarily increased.

This may be useful if you find the capactive play and write buttons do not reliably register your touch (for example, because your have very dry fingers/thumbs or because you have callused fingers/thumbs).

9/A1 Switch MIDI port to MIDI IN

(15BSE, 15BPRO, 15B2 hardware only) To start your Woovebox with the physical MIDI port configured as a MIDI IN port (rather than the default MIDI OUT), hold 9/A1.

10/A2 Enable remote control expander mode

To start your Woovebox with remote control expander mode enabled, hold 10/A2. Remote control expander mode allows almost any MIDI device to control your Woovebox remotely, turning that device into a powerful workstation.

12/A4 Play stop protection

(firmware 2435+) By keeping 12/A4 pressed while turning the device on, playback is no longer stopped by pressing the play button. Use this mode if you are worried of accidentally stopping playback (for example in a live situation using Live mode) by accidental touching of the play touch area. Playback can be stopped by switching to Song mode (which is a dual button gesture and therefore unlikely to happen accidentally).

13/A5 Demo mode; disable song restore & autosave

By keeping 13/A5 pressed while turning the device on, your Woovebox will start with an "empty" song, while autosave is turned off. This mode is perfect for quickly showing a friend how easy it is to create a song from scratch, while not affecting any of your existing songs.

Please note that a manual save option will become available in the context menu of Song mode's 'GLob' page (firmware 2421+).

14/A6/Sampler Demo mode; disable autosave

By keeping 14/A6/Sampler pressed while turning the device on, autosave is turned off. This mode is perfect for tweaking your song non-destructively, for example for passing your Woovebox to a curious friend, without having to worry about them destroying your songs.

Please note that a manual save option will become available in the context menu of Song mode's 'GLob' page (firmware 2421+).

MIDI, Sync and connecting other gear

Despite is tiny size, your Woovebox can control your other gear's playback and audio via audio in, physical MIDI out, physical MIDI in (models 15B2 and up), analog sync out and wireless MIDI in/out.

It can effectively function as the "brain" of a larger setup.

Lastly, it can turn any cheap controller or keyboard into an advanced workstation via remote control expander mode.

MIDI out

Your Woovebox can send MIDI data to its physical and BLE MIDI out port on a per-channel basis. All MIDI channels behave like monophonic instruments, accepting only one note at a time ("Omni Off/Mono").

In addition to note and velocity, as of firmware 2817, your Woovebox also transmits volume, pan, filter cut-off and filter resonance data. Note off events are sent as "velocity 0" note on events.

(firmware 2465+) On a track's 'GLob' page, use the 'MIdI' setting under the 8/Pc key to specify which channel (1-16) the track should send its data to.

(firmware 2817+) By selecting from the sixteen alternative channels (indicated by a "." at the end), filter cut-off and filter resonance can be sent as NRPN messages instead of standard (CC 71 and CC 74) controller message. This is useful for gear that responds to XG/GS-compatible NRPN (CC 98, CC98, CC 6 sequence) messages rather than standard MIDI CC messages.

As of firmware 2817+ your Woovebox transmits the following controller messages;

•MIDI CC 0, Bank Select (MSB), part of patch change•MIDI CC 7, Volume, sends a track's volume including fragment/scene automation•MIDI CC 10, Pan, sends a track's panning information including everything that affects pan position on a track's 'Pan ' page•MIDI CC 32, Bank Select (LSB), part of patch change•MIDI CC 71, Filter resonance, sends a track's filter resonance (not sent if using XG/GS NRPN mode instead)•MIDI CC 74, Filter cut-off, sends a track's filter cut-off including fragment/scene automation (not sent if using XG/GS NRPN mode instead)

MIDI Patch Changes

As of firmware 2817, your Woovebox can send MIDI patch changes (including LSB and MSB bank selection) on a per pattern basis.

To select the MIDI patch number, set "Md.Pc"/"MIdI Pach" under 14/A6 on the Pttn page for each pattern. Please note that the patch number is 1-based and 0 is 'off' (no patch change for this pattern).

If your external device requires a bank select message, you can use "Md.bM"/15/A7 and "Md.bL"/16/A8 for bank MSB and LSB respectively.

MIDI SysEx

Your Woovebox can send and receive songs, patches and samples through standard SysEx messages.

MIDI In

Your Woovebox responds to incoming MIDI data in two distinct modes;

•When editing tracks (e.g. on the 'Seq' page and any of the subsequent pages), any incoming MIDI messages (notes, controller information) regardless of their original MIDI channel are directed to the active track. This behavior allows you to quickly switch sounds by switching active tracks on the Woovebox itself, rather than having to change MIDI channels on your controller. This allows you to use your Woovebox as a performance sounds source for a MIDI connected input device. It also allows you to perform sound design quickly and easily.•When using any other mode (Live, Song), your Woovebox acts like a regular 16-part multi-timbral synthesizer and sound module. Incoming MIDI is played on the track (1/Cd-16/A8) that corresponds to the incoming MIDI channel (1-16) information. This mode allows your Woovebox to be externally sequenced.

Track 1/Cd allows up to five notes polyphony, while the other tracks are monophonic. Track 1/Cd - on the Seq ('Sequencer') page exclusively - also detects incoming chords (via MIDI IN), briefly displays them, and makes sure that chord is used next time you program a step using write + key 1-16. Paraphonic tracks will only sound "correct" if the playing chord's root note is played.

To make better use of your Woovebox' more advanced sample playback capabilities, sample kit tracks (e.g. tracks with 'bEhv/'traK bEhv'/'track behavior' on the under 7/hh on the 'GLob' page set to 'SMPK') have subtly different sets of the 16 kit's slices spread over the keyboard;

•notes before C4 play the slices in reverse•C4-F5 play slice 1-16 as normal•the next 16 notes play slices 1-16 as normal, but with PLFO trigger set (see PLFO conditional)•the next 16 notes play slices 1-16 as normal, but with ALFO trigger set (see ALFO conditional)•the next 16 notes play slices 1-16 as normal, but with FLFO trigger set (see FLFO conditional)

Your Woovebox responds to note velocity, and responds to both "velocity 0" and note off messages to turn off notes. Your Woovebox also responds to filter cut-off (CC#74) and pitch bend (+/- 2 semitones range). The latter responses are temporary (for performance purposes) and are not permanently stored anywhere. Any automation (by song fragments or live scenes) will also override these temporary "performance" settings. E.g. to permanently change the filter cut-off frequency as part of a patch on a track, please change 'Cut.F'/'Cut FrEq') under 2/bS on the 'Fltr' (Filter) page of the relevant track.

Your Woovebox further responds to CC#75, which allows for filter automation to be temporarily negated (turn to full/127) or applied again (turn to 0/off). This is useful for adding live filter tweaking to a performance;

•Make sure you set CC#75 to 0 (the default value) at the start of your song or performance.•Off/0 for CC#75 is always the natural position to finish knob performances on (but not mandatory!).•A programmatically closed filter can always be opened using CC#75•A programmatically fully opened filter cannot be closed using CC#75

As of firmware 2.0 on the Woovebox SE and PRO models, the physical MIDI port can be switched to become a MIDI input instead of a MIDI output. This can be accomplished by booting up the device and holding 9/A1 while turning on your device. Please note that the required hardware to allow of a physical MIDI input is not available on earlier hardware revisions (15, 15B, 15B1).

Please note that in some cases, ground loop issues may arise if powering both your Woovebox and MIDI sender/receiver using the same USB power source. MIDI IN and/or OUT may not work reliably (or at all) in such cases. To solve this, run your Woovebox off its internal battery, or run the two devices off of different USB power sources. Please also avoid very long MIDI cables, as they may attenuate the signal too much, potentially causing drop-outs in the data stream; this may result in hanging notes, or missed controller messages.

MIDI Real-Time messages and clock sync

Your Woovebox outputs real-time clock/sync, start and stop messages.

Your Woovebox also responds to MIDI start and stop commands.

Please note that your Woovebox does not respond to clock/sync messages due to technical limitations that prevent arbitrary song tempos.

Starting and stopping playback resets transport to the start of the song. Stopping playback sends and "all notes off" MIDI event to prevent any hanging notes.

Turning off Wooveconnect CC messages

To prevent your Woovebox from sending Wooveconnect-related MIDI CC messages to your external gear, turn off Wooveconnect device mirroring; find the "Mirr dvcE" context menu option in Song mode's 'GLob' page and action it.

Device mirroring is off by default, if the device was not booted up with BLE enabled.

Analog sync

Even today, analog sync pulses are a popular way to start, stop and synchronize playback of other gear. Your Woovebox can output an analog sync pulse via a breakout cable (a fairly standard cable that is normally used to split mic andstereo headphones) that connects to the headphone output jack.

To enable the sync pulse, switch to Song mode. scroll to the 'GLob' page, and change the 'Sync' parameter under the 13/A5 key to 'on'.

Note that enabling 'Sync' without using the breakout cable, may cause a faint clicking noise. Therefore, keep this setting at 'off' if the breakout cable is not in use.

Please do not attempt to listen to the sync pulse with headphones without attenuating the signal externally first. While low and electrically safe, the ~2.7V signal is very loud and may damage your headphones or hearing. Please also note that the ~2.7V voltage may not be sufficient to drive some older analog gear that expects higher voltages.

Line input

Your Woovebox can incorporate up to two incoming audio sources into the synthesizer's signal path; on any tracks' Osc1 or Osc2 page, simply select 'In1 ', 'In 2' or 'In12' for the for 'WavE' (WavE typE) under the 1/Cd key;

•'In1 'uses audio from the incoming audio's left channel as if it were an oscillator source•'In 2' uses audio from the incoming audio's right channel as if it were an oscillator source•'In12' use audio from the both the audio's left and right channels mixed down into mono, as if it were an oscillator source

This is a very powerful way of incoporating external audio into your Woovebox' final output; it allows for sound-designing with external audio as well as effecting external audio or even have external audio effect internally synthesized audio (for example through the dynamics/'dyna' section).

Note, however, that this also means that you will not hear incoming audio until you play a note that uses the 'In1, 'In 2' or 'In12' oscillators.

Please also note that any signal fed into the line input needs to be at a sufficiently amplified line-level (-10dbV minimum). The line-input is not meant for, for example, microphone-level input.

Remote control expander mode

Remote control expander mode turns almost any MIDI-out capable keyboard, controller or control surface into an advanced standalone workstation, synthesizer and performance instrument. It is enabled by holding 10/A2 (and 9/A1 if you are using physical MIDI in, or 1/Cd if you are using Wireless MIDI) while turning on your Woovebox.

Once booted up with 10/A2 held down, remote control mode activates when;

•your hold the value button down for at least one second (hold it down again to exit remote control mode). Use this mode if your MIDI controller or keyboard is very basic, does not have a sustain pedal, and cannot send control messages on CC#80. This even works with toy keyboards with MIDI made as far back as the 1980s.

or;

•your Woovebox receives a sustain pedal press MIDI message (CC#64 >=64) on any channel, and deactivates as soon as the pedal is released (CC#64 <=63). Upon detection of a sustain pedal, this disables the value button mechanic described above.

or;

•your Woovebox receives a control message on CC#80 (same as sustain pedal), CC#81, CC#82, or CC#83 with a value >=64 on any channel. Note that receiving a message on these controller numbers turns off any subsequent response to CC#64. This frees up the sustain pedal (CC#64) for other uses from thereon. It also disables the value button mechanic describe above.

While the remote control expander mode is active, you can remote control your Woovebox by sending MIDI notes (for example the black & white keys on a keyboard) to send different button presses to your Woovebox.

You can control your Woovebox from most basic keyboards or control surfaces that have 24 keys/controls or more. For controllers with fewer controls, partial useful mappings can still be achieved by mapping selected MIDI notes to the available controls.

The display of your Woovebox will brighten while the mode is active as a visual indicator.

Buy sticker sheet

https://shop.woovebox.com/product/sticker-pack/

Mapping

Download sticker sheet PDF

https://connect.woovebox.com/Woovebox-2-sticker-sheets-100x100mm.pdf

Mapped range

While remote control is active, 24 MIDI notes (2 octaves) from your keyboard or controller are used to control your Woovebox. Outside of those two octaves, your keyboard or controller will work as normal.

Positions

On first use of the remote control feature, your Woovebox automatically detects which two octaves (out of five possible positions across the keyboard) should be "sacrificed" for remote control. From thereon, only those two octaves respond to remote control messages. Using this mechanism, your Woovebox can be configured for control from the following positions on the keyboard (assuming MIDI note 60 being C4 / "middle C");

•C-1 to B0 (MIDI notes 0-23)•C1 to B2 (MIDI notes 24-47)•C3 to B4 (MIDI notes 48-71)•C5 to B6 (MIDI notes 72-95)•C7 to B8 (MIDI notes 96-119)

1st octave

C

1/Cd

C#

write

D

2/bS

D#

play

E

3/Ld

F

4/Ar

F#

octave - / decrement

G

5/Ki

G#

octave + / increment

A

6/Sn

A#

7/hh

B

8/Pc

2nd octave

C

9/A1

C#

value

D

10/A2

D#

(no function)

E

11/A3

F

12/A4

F#

value left / -

G

13/A5

G#

value right / +

A

14/A6

A#

15/A7

B

16/A8

Additional MIDI mapping

If your keyboard or controller has a pitch bend control, turning the value knob rapidly can be emulated by repeatedly pitching up (corresponding to turning left) or down (corresponding to turning right).

Simulated single value knob left and right detents ("clicks") are mapped to CC#97 ("Data Button Decrement") and CC#96 ("Data Button Increment") respectively. Any accompanying value is ignored. For reasons of MIDI implementation conformity, these controls work even if remote control expander mode is turned off.

Simulated single value knob left and right detents ("clicks") are also mapped to CC#85 and CC#84 respectively. Any accompanying value for these controls is not ignored; a value of >= 64 signifies a press, and a value of <=63 signifies a release.

As said, CC#80 replicates the sustain pedal mechanic and puts the Woovebox in remote control expander mode. If you wish to avail of this mapping, you may wish to configure your controller's button - if possible - to act like latching/"toggle" button so that a single press "holds" the mode until it is pressed again to exit the mode.

Simulated Woovebox play button, write button and value knob presses are additionally mapped to CC#81, CC#82, and CC#83 respectively, where a value of >= 64 signifies a press, and a value of <=63 signifies a release. If you wish to avail of this mapping, configure your controller's buttons - if possible - to act like momentary, rather than latching/"toggle" buttons. For your convenience, using these controller numbers automatically puts your Woovebox in remote control expander mode for the duration of the press (e.g. acting as if CC#80 or the sustain pedal were pressed at the same time as well).

Please note it is important to properly release controls mapped to CC#80 - CC#85, by sending a value <= 63 (button/control released). If you do not require the Woovebox to register a button or control being pressed in (held down) first (e.g. you wish to mimic a quick momentary tap), you may send a value <=63 immediately, rather than sending a >= 64 value first.

Wireless MIDI over Bluetooth

Your Woovebox supports MIDI in and out over Bluetooth Low Energy, allowing it to communicate with your DAW as well as the Wooveconnect service.

To start your Woovebox with BLE enabled, keep the 1/Cd (or 2/bS for enhanced compatibility mode, or 3/Ld for high-speed mode) key pressed while switching on the device. The display reads 'boot bLE' (or 'safE BLE' or 'FaSt BLE').

Once your device has booted up, you can proceed to pair your Woovebox with another device, and use the Wireless MIDI and data transfer capabilities.

Please remember that your Woovebox can only connect to one device at a time; if you need to connect to a device, please make sure your Woovebox is disconnected from any other device first.

Pairing your Woovebox

After the pairing procedure for your particular operating system, your Woovebox can be used as a regular MIDI device within other applications, or can be managed through the Wooveconnect app.

Your host device's BLE radio needs to be BLE 4.0 compatible, and please make sure that your Woovebox is not already accidentally connected to some other device; it can only handle one connection at a time and will not be visible to any other devices while it is already connected.

Please make sure any Battery Saver mode that may interfere with Bluetooth is off (Android, iOS, and Windows Power Management).

The stability of your MIDI over BLE connection is heavily dependent the quality of the drivers and quality operating system's Bluetooth stack. Unfortunately this quality can be found lacking on various hardware/OS combinations from Microsoft, Google and Apple. If you require a rock solid plug & play MIDI over BLE solution that works on any machine, we recommend the WIDI Bud Pro solution by CME.

WIDI Bud Pro universal solution

By far the easiest and most stable MIDI over BLE solution, is to use a WIDI Bud Pro USB adapter that was specifically designed to provide a rock-solid connection for musicians and performers.

The WIDI Bud Pro exposes itself as a regular MIDI adapter, while handling the MIDI over BLE connect itself, bypassing the OS entirely.

Using the WIDI Bud Pro with your Woovebox is as easy as plugging in the WIDI Bud Pro into an available USB port, turning on your Woovebox holding (1/Cd) to enable Wireless MIDI, and launching Wooveconnect on a compatible browser.

Please note that only the latest CME WIDI firmwares (June 2023 onwards) support the large SysEx message transfers required. Please update your WIDI Bud Pro when you receive it.

Linux

Most modern Linux distros allow you to pair with your Woovebox, after which it can be used system-wide as an input and output MIDI device automatically.

If you find your connection is unstable, or if your distro's Bluetooth manager was compiled without MIDI over BLE support, you may install the latest version of BlueZ as follows;

First install the prerequisite packages

sudo apt install libglib2.0-dev libudev-dev libical-dev libreadline-dev libdbus-1-dev libasound2-dev build-essential python3-docutils

Next, download and unpack the latest version of BlueZ (5.66 is used here as an example).

cd /tmp
wget https://mirrors.edge.kernel.org/pub/linux/bluetooth/bluez-5.66.tar.xz
tar -xf bluez-5.66.tar.xz

Finally, build BlueZ and install it.

cd bluez-5.66
./configure --enable-midi --with-systemdsystemunitdir=/etc/systemd/system
make
sudo make install
sudo apt-get install --reinstall bluez

After a reboot your distro should now be running the latest version of BlueZ with MIDI over BLE enabled.

Some distros (e.g. Ubuntu 22.04LTS) appear to require authentication before allowing user-initiated pairing and bonding, and refuse to accept user-initiated pairing without authentication. To work around this bug, try paring using trust and connect only via bluetoothctl, instead of pairing via the GUI.

macOS

MacOS users can use the built-in MIDI over BLE support.

•Locate and launch the Audio MIDI Set-up app•Choose Window > Show MIDI Studio.•In the MIDI Studio window, click the Configure Bluetooth button (Bluetooth icon) in the toolbar.•Connect with device WOOVEBOX-xxxx.

Windows (not officially supported)

Though likely to work on many systems, Windows 11 is not officially supported by Woovebox due to dependency on third party drivers, as Windows is the only operating system that does not natively expose MIDI over BLE devices to applications such as your browser.

Step 1. Pairing your Woovebox

Perform the following steps in exactly the following order;

•Turn off your Woovebox.
•Bring up your Windows Bluetooth devices ("Bluetooth & other devices").•Remove any previously WB, WOOVE or WOOVEBOX-xxxx devices (if any).
•Click Add Bluetooth or other device.•Select Bluetooth; Mice, keyboards, pens or audio and other kinds of Bluetooth devices.•Turn on your Woovebox, while holding 1/Cd or 2/bS.
•Once your Woovebox has booted up, it should show in the list as WOOVEBOX-xxxx (1/Cd), WB (2/bS enhanced compatibility mode) or WOOVE - see further below if it fails to show up
•Connect to the found device. After connecting, the "Your device is ready to go!" message should pop up.•"Bluetooth & other devices" should now list your device under Other devices.
•Your deviceshould list as Connected whenever it is available and MIDI traffic is flowing.

If the device keeps rapidly flipping between Paired and Connected by itself, try removing the device and perform the above procedure again.

If you are not able to get your Woovebox to show up in the list of devices on your Windows machine, first check device manager, and under the Bluetooth section check for an item called "Microsoft Bluetooth LE Enumerator." If this entry is unavailable then unfortunately your machine's Bluetooth adapter does not support Bluetooth LE. If this entry does appear, however, go to settings > bluetooth & devices > view more devices. Scroll far down near the bottom and search for an item called "Bluetooth devices discovery". Set this item to "Advanced". From here, if you try to pair your Woovebox again, it should hopefully show up.

Step 2. Drivers

The above procedure may successfully pair your Woovebox. However Windows is the only operating system that still lacks any further functionality to expose devices as MIDI devices to the wider operating system. For applications that don't implement their own MIDI over BLE drivers (some of the latest versions of popular DAWs for Windows do), further 3rd party drivers or applications are required. Two known generally applicable solutions exist;

Method 1. Setup and run KORG BLE MIDI drivers

BLE-MIDI drivers from KORG are used by most people as a general purpose MIDI over BLE solution. These drivers have known to break between major Windows updates, so no guarantees can be given that these will work for you or will keep working for you in the future.

This method allows for full-duplex (MIDI in and out) communication between Windows and a your Woovebox.

Method 2. Setup and run "loopMIDI" and "MIDIberry"

Once paired do the following;

•Obtain loopMIDI by Tobias Erichsen (free) and install it.•Create a device named loopMIDI WOOVE IN (case sensitive, and please note the space).•Create a device named loopMIDI WOOVE OUT (case sensitive, and please note the space).•Obtain MIDIberry from the Microsoft store (free) and install it.

For receiving data from your Woovebox;

•In MIDIberry, under INPUT, select WOOVE (Bluetooth MIDI IN).•Under OUTPUT, select loopMIDI WOOVE IN.

For transmitting data to your Woovebox;

•In MIDIberry, under INPUT, select loopMIDI WOOVE OUT.•Under OUTPUT, select WOOVE (Bluetooth MIDI OUT).

Please note that due to MIDIberry only allowing one connection, data may only flow in one direction (from your Woovebox or to your Woovebox). If you wish to switch direction, you will have to change the routing in MIDIberry. If you require data to flow in both directions, it is recommended you use MIDIberry to send data to your Woovebox, while using a wired MIDI interface to connect to the MIDI OUT of your Woovebox, allowing you to simultaneously receive data from your Woovebox. A paid version of MIDIBerry exists that allows for bi-directional communication, but please note that Woovebox does not endorse this application, nor has tested this application; purchasing this application is done at your own risk and Woovebox does not warrant that this solution will work.

Disclaimer; please note that Woovebox does not endorse, nor is in any way, associated with loopMIDI, nor MIDIberry, nor KORG. The latter names and companies are all owners of their respective trademarks.

Android

Please use the Woovebox Wooveconnect app in the Google Play store. Woovebox Wooveconnect for Android works on Android 9+.

Woovebox Wooveconnect Android App

https://play.google.com/store/apps/details?id=com.pocketanimalaudio.wooveconnect

iOS

Most iOS software will detect your Woovebox. For any apps that don't however, you can use a utility app like Bluetooth MIDI Connect to connect your Woovebox to these apps.

Please note that due to Safari not supporting the WebMIDI standard, WooveConnect will currently not work on iOS devices. An upcoming EU directive will force Apple to allow other browser engines

If you need to transfer SysEx to or from your iOS device, you can use any standard SysEx manager (such as Sysex Base). NOTE: This does not seem to work anymore on iOS 18+.

If you wish to update the firmware using your iOS device, you can download the firmware in .SYX format to your iOS device, and open it using such a SysEx manager. Please note that you may need to configure your iOS device to not turn off the screen during long SysEx transfers.

SysEx Base example

•Reset your iOS device (e.g. power it off, and power it back on)•(optional) Turn off WiFi if your connection is suffering from packet loss.
•Launch SysEx base.•Go into the MIDI tab.•Choose "Connect to Device" under BLUETOOTH MIDI•Turn on your Woovebox while holding down 1/Cd.•Your device will appear in the list and can now be selected to connect to (the Woovebox will report "BLE Conn").•Choose "Back".•Ensure Bytes Transmitted per Second is set to 3125 or below.
•Choose the Files tab.•Find and select the SysEx file you wish to upload.•Press the play icon to start the transfer (your Woovebox will show 'rcv' and a progress percentage).

Once again, please note that you may have to configure your iOS device to not turn off the screen during long SysEx transfers (or otherwise keep the device alive by interacting with the screen). Please also note that the packet loss protection found in Wooveconnect is not available in other applications. If packet loss occurs ("stuck at 99%"), please refer to the section about enhancing connection stability (for example temporarily turning off WiFi).

Battery and charging

Your Woovebox' battery should last 9h+ (OG and SE) / 10.5h+ (Pro) or more on a single charge , when performing continuous playback. This is reduced to 5h or more with Bluetooth enabled. Some actions may further influence battery life, such as regular saving, MIDI output, Sync output.

An estimate of the battery level is displayed every time your Woovebox saves your song, and can also be viewed by holding play and short-pressing the value knob.

If the battery level is too low, the device will indicate "BATTCRIT" and "NO SAVE" and will refuse to save until it is put on charge. This is to prevent data corruption, as writing to flash memory may draw a lot of power and may fail if not enough power is available.

If the device has been put on charge via the USB-C port, the display will indicate "USB" instead of a battery percentage.

The device will show a "frowny face" if booted with a depleted battery, or may not boot at all if the battery is severely depleted.

Charging

Charging your Woovebox is done by connecting a USB power source to the USB-C receptacle on the left hand side. For earlier Woovebox revisions and beta units, only USB-A power sources are detected. Later revisions will also detect USB-C power sources.

Charging the device from empty to 100% may take up to 4 hours. You can safely use your Woovebox while it is charging (please note any ground loop due to poor isolation may impact audio; see also hardware quirks and limitations).

An LED in between the value knob and the screen will illuminate while your Woovebox is charging. It will extinguish once it has completed charging.

The battery in your Woovebox is rated for at least 500 empty-to-full cycles with minimal capacity degradation (>80% capacity).

Important battery safety notes

•Never leave your Woovebox in a hot car.•Never pierce your Woovebox with a sharp object or spike.•Do not dispose of your Woovebox by throwing it with household rubbish or by crushing it.•Your Woovebox includes "load sharing" circuitry to safely use and charge the device at the same time.•Your Woovebox includes multiple safety measures to prevent the battery from over-charging, over-discharging, over-voltage and short circuiting.

Hardware quirks and limitations

Your Woovebox was designed to - literally - punch well above its weight in terms of bang-for-buck and features, but there are some hardware quirks and limitations owing to its portability and low power consumption.

Battery charging speed

Battery charging can take up to 4h from empty to for a full charge. This slightly longer than strictly necessary, however was implemented to extend battery longevity, allowing for more charging cycles than you will find in typical consumer electronics. This extends the service life of your Woovebox and ultimately reduces e-waste. Being a perfect device for on-the-go, lower charging current requirements also allow for usage of low current energy sources, such as older USB outlets, small solar panels and small power banks.

LED Screen and keypad controller

Pressing multiple 1-16 keys at the same time may cause some screen "corruption". This is an inherent limitation of the low power integrated screen and keypad controller. It is perfectly harmless.

DSP resources

Your Woovebox has a finite amount of digital signal processing (DSP) resources for real-time synthesis and sample playback. In general you should be able to play moderately complex sounds and effects simultaneously on Track Cd through to A5 without running into serious limitations. Please refer to "Understanding DSP load" for further information and optimization strategies.

Sync pulse voltage

Though rare, some sync pulse inputs from other manufacturers require a higher voltage than the Woovebox hardware can provide. Woovebox sync pulses may work unreliably or not at all with such hardware. Sync compatibility has been tested successfully with the Teenage Enginering Pocket Operator series, and the KORG Vocla series.

USB-C port used for charging only

The USB-C port on your Woovebox is used for charging only. It does not output or accept MIDI, nor outputs or accepts audio.

1-16 key appearance with use

The switches are rated for 500K+ presses each, however some harmless cosmetic "dulling" of the metal around the circular part of the micro switches may occur with use over time. This is does not affect operation, is considered normal and does not require cleaning.

USB supply ground loop noise

This is not so much a limitation of the Woovebox, but rather a potential limitation of the device charging your Woovebox. Depending on how (and to what) your Woovebox is connected via USB, ground noise may be prevalent on the analog output, as well as on the MIDI in/output. This is unfortunately a common issue with many types USB hosts (such as computers and laptops) and can happen with any connected audio gear, not just your Woovebox. If the issue is problematic (audio hum or physical MIDI port not working), run the device off the internal battery and disconnect your Woovebox from the problematic USB device. You can also use an USB isolator device, or charge your Woovebox with a differerent/separate device or power supply.

Low weight

Your Woovebox can often weigh less than the cables it is attached to. As such, it does not take much to overcome any surface friction, causing your Woovebox to move and potentially slide off of the surface you placed it on. Please be careful to route any cabling in a way that does not tug on your Woovebox. While being a portable device, your Woovebox is not impact resistant or drop-tested. Please be careful with your Woovebox.

Touch button calibration

The write and play touch button sensitivity is re-calibrated on every power-on event. Please do not touch these buttons while switching on the device, as this may cause the touch buttons to not register properly. You may start using the buttons once the wake-up animation and boot sequence starts. If you find the device starts, for example, playing by itself, calibration may have failed during power on. Simply turn off and on the device to re-calibrate the touch buttons again.

If you find the touch buttons are not sensitive enough (for example if you have very dry or callused hands), a special boot mode is available to temporarily increase the sensitivity.

Value knob play/"looseness"

The Value knob is a Bourns Pro Audio, high-rotational life mechanical encoder + push switch combo, with relative far-spaced out notches. This means that there is a slight looseness of the knob and it can be "wiggled" the smallest amount. This is perfectly normal and is present on all Wooveboxes.

Sample transfer speeds

The MIDI standard affords only limited bandwidth for data transfer. As such, bulk data transfer speeds (e.g. sample transfer) are impacted and may take some time. In practice this is really only most noticeable during sample transfers and firmware updates.

Understanding DSP load

Though powerful for its size, like all other grooveboxes and workstations, your Woovebox does has a finite amount of Digital Signal Processing (DSP) resources for simultaneous real-time synthesis, effects and sample playback. Please note that rendering a song or its individual stems to a WAV file via Wooveconnect, is not subject to any DSP resource limitations.

In general you should be able to play moderately complex sounds and effects on Track Cd through to A5 simultaneously without running into serious limitations. As such, you should not need to worry for even moderately complex songs. To use more tracks simultaneously however, it is important to understand DSP resource management.

DSP usage and warnings

Pushing the device, for example by having complex sounds playing on auxilliary tracks A6, A7 and A8 as well as on all the other tracks simultaneously, may approach saturation of the DSP resources.

When this happens, the LEDs and screen will increase in brightness, as if your Woovebox is "heating up".

In mild DSP saturation cases, the device lowers calculation precision slightly for a few milliseconds so that it could catch up with demand. The effect of this on the audio quality is imperceptible in most cases. In more severe cases, however, the device will do its very best, but may no longer guarantee audio throughput and that popping/crackling artifacts may start occurring.

Note that transitions in Live mode or Song mode where certain tracks are toggled off and others are toggled on will be the most at risk of DSP overload; the toggled-off tracks may still be playing their sound's decay or release stage, while the new tracks are already sounding their attack. This temporary overlap of playing voices will cause the DSP to work extra hard.

Configuring DSP load info

The DSP load info and warnings are customizable to help troubleshoot DSP saturation scenarios.

By default your Woovebox will let you know when you are about to run out of DSP resources through increasingly brightening the screen and LEDs as if it is "heating up". However, this behavior can be customized using the context menu (Hold write, short press value repeatedly to cycle through options) in Song mode's Global page and selecting "dSP InFo".

Your Woovebox provides five options for showing you its real-time DSP load;

•'HEAt LEv2'; this default setting will only subtly brighten the screen in more severe overloading conditions that are on the verge of being audible.•'HEAt ALL'; this default setting will give a more granular view of when the DSP is increasingly being taxed. A brightening of the screen and LEDs will indicate a temporary (few millisecond) quality drop was necessary to maintain audio throughput. A higher level of brightening indicates that the overloading persisted and that further measures were taken to reduce DSP load, most typically still inaudible. The brightest level indicates a severe overloading condition, and last-ditch efforts (sometimes audible) are being made to keep the audio stream intact in order to prevent crackling and popping artifacts.•'Pct USgE'; this setting will show DSP load as a percentage of total capacity during playback.•'SpecQual'; this setting will show the amount of voices currently playing at reduced spectral resolution. The number underneath 50 shows the percentage of playing voices that were assigned 50% spectral resolution, while the number underneath 25 shows the percentage of playing voices that were assigned 25% spectral resolution. 'AL' means "all" (e.g. 100%). Voices playing at lower spectral resolution are less taxing on DSP resources.•'JIT CMPL'; this setting shows how many just-in-time code re-compilations are being performed per second by the synthesis engine.

AI DSP resource allocation optimizer

A learning-based algorithm is used to fine-tune DSP throughput. It learns from DSP usage spike events and attempts to better allocate DSP cycles and cache memory in order to predict and prevent them. Once trained on your song or patterns, the optimizer can reduce DSP loads by ~10% in typical cases.

The AI works in the background and training data is saved along with your song. However, the optimizations that the AI can make, are highly dependent the song as well as real-time hardware conditions that may vary between sessions, boot-ups and firmware revisions. Training data may be reset between some firmware updates, or when importing songs that were saved on older firmware. Playing your song or patterns at least once after loading, will start the re-training process to optimize the performance by more intelligently allocating DSP cycles and cache memory.

Please also note that turning off MIDI over BLE, or using shorter delay times for delay 1, frees up more cache memory for the optimizer to allocate, and can further improve DSP throughput if DSP spikes are an issue.

Spectral resolution optimizer

The Spectral Quality ('Qlty') parameter (5/Ki button on a track's Global/"GLob" page) controls a novel signal processing feature that further optimizes DSP usage.

In order to save DSP resources, your Woovebox can analyse the precise spectral resolution a sound requires during real-time synthesis of a voice. In cases where a lower spectral resolution can be used without impacting the fidelity of the sound, your Woovebox can automatically do so to free up DSP resources. You can also manually force any track to render at a lower resolution, either to save DSP resources or for creative effects.

When automatically determined ('auto') by your Woovebox, the loss in resolution is not (or barely) audible - a little bit like how MP3s trade storage space for audio fidelity. Any resolution reduction determined by 'auto' will only kick in when DSP usage exceeds 70%.

•'auto'; lets your Woovebox decide the required spectral resolution to faithfully reproduce the track's patch, saving DSP resources where it can. Tracks with 'auto' set will always render at full ('FuLL') quality spectral resolution when exported via Wooveconnect. Any resolution reduction determined by 'auto' will only kick in when DSP usage exceeds 70%.•'FuLL'; forces full spectral resolution allocation for the track, preventing loss of resolution at all times.
•'50'; forces 50% spectral resolution allocation for the track. Depending on the patch, the effect may be noticeable in the high frequencies, as well as when applying filters and saturation. In that case, this mode can also be used as a creative effect. Tracks with '50' set will render precisely as audible (e.g. with reduced spectral resolution allocated) when exported to .WAV via Wooveconnect.•'25'; forces 25% spectral resolution allocation for the track. Depending on the patch the effect may be noticeable in the high and mid frequencies, as well as when applying filters and saturation. In that case, this mode can also be used as a "lo-fi" creative effect. Tracks with '25' set will render precisely as audible (e.g. with reduced spectral resolution allocated) when exported to .WAV via Wooveconnect.

Good candidates for aggressive manual spectral quality optimization are usually patches and sounds with little to no high frequencies playing, such as basses and kicks.

Optimizing your song manually

To avoid running into DSP overload conditions, there are some manual optimizations you can make to your song. These are as follows;

•Use fewer sounds simultaneously (e.g. reduce polyphony requirements), for example by using multi-instrument mode on tracks.•If feasible, force a track to use 50% ("50") or 25% ("25") spectral resolution (5/Ki button on a track's Global/"GLob" page) and if needed, tweak your patch so it sounds close enough to the original full spectral resolution. The "Auto" setting will always err on the side of caution.
•Reduce decay and release times for the AEGs and FEG for patches, so that your Woovebox is "done" quicker with sounding a voice.
•Rely on decay-only AEGs and FEGs for patches rather than having release stages.
•Turn off MIDI over BLE.•Avoid using delay2 completely across your entire song.•Avoid using distortion for a patch.•Avoid using saturation for a patch.•Turn off filtering for a patch.
•Set any unused oscillator's level to 0 for a patch.•Consider internal re-sampling of complex synthesized sounds and triggering them as samples on a single oscillator.•Use more sampled sounds in your song, instead of synthesized sounds.•For chords, consider using track bs through A8 paraphonically instead of using the Cd track, while muting the Cd track and using it only to play/"convey" the chord information/notes (but not the sound). Paraphonic voices only count as a single playing voice, while the Cd track will play up to 4 voices.
•Play through the song, or part of the song that is showing DSP overload conditions to help the AI resource allocator better understand your song.•Please note that the sample kit's algorithm defaults to "Warp", allowing for real-time pitch shifting and time stretching. This algorithm consumes more DSP resources than using the simpler subtractive algorithm. If you don't need the Warp algorithm, consider changing the track's algorithm (3/Ld/Algo on the track's GLob page) to subtractive ('Subt') instead.•Use the DJ FX buffers to render and then playback loops

Again, please note that rendering a song or its individual stems to a WAV file via Wooveconnect, is not subject to any DSP resource limitations.

Looking after your Woovebox

We would all like to reduce electronic waste as much as possible, so here are some important guidelines to keep your Woovebox in tip-top shape;

•Don't store or carry your Woovebox unprotected, particularly along with sharp objects (such as keys) that may scratch your Woovebox or may knock off some of the tiny components (such as the LEDs)•Don't leave your Woovebox exposed to direct sun light.•Don't leave your Woovebox in a hot car•Don't use solvents or oil/petroleum based cleaners or conditioners to clean your device's exterior•Don't use any sharp tools or any abrasives on your Woovebox
•Don't connect heavy adapters to the 3.5mm jack plugs or put strain on the 3.5mm jack plugs•Don't operate your Woovebox with wet or greasy hands

Cleaning and restoring the enclosure

Woovebox SE and Pro enclosures are made of ABS plastic and can withstand most domestic cleaning products. Please avoid aggressive products, especially products with with acetone.

The "OG" Woovebox enclosures and screen surrounds are SLA 3D printed using a resin that has a deep black appearance. Part of achieving this black appearance is treatment with a mineral oil. If your Woovebox enclosure - for whatever reason - loses its sheen and starts to exhibit dull grey patches, you can restore it by spraying a little bit of WD40 (or a similar "Water Dispersant" clone-product) on a micro fibre cloth and rubbing it into the enclosure and screen surround as needed. Please avoid any other parts of your Woovebox, and do not spray WD40 on your Woovebox directly, as it acts as a solvent and may damage other parts (particularly the black paint on the LED screen itself). Please follow the directions on the can, and use it in well-ventilated environment only.

Storing your Woovebox

Store your Woovebox in its protective case when it is not in use. Leave the included satchel of silica gel desiccant in the case to absorb any moisture. To prolong the shelf-life of the desiccant, keep your protective case zipped up whether or not your Woovebox is inside.

Cleaning the 1-16 keys

Normal usage in dry environments with clean hands, should not require servicing of the switches, and the switches are rated for 500K+ key presses each.

However, if oils or accidental moisture have penetrated the 1-16 switches preventing them from operating reliably, the switches can be cleaned and serviced like so;

•Procure fresh 99.9% Isopropyl Alcohol (do not use any significantly lower grade or old stock) and some cotton swabs/buds (aka "Q-Tips").•Using the cotton swabs/buds, drip one or two drops of isopropyl alcohol onto the round black button and let it seep into the switch. Do not use large amounts.
•Lightly press the button while wiggling it.•You may perform this procedure with the device turned on to observe triggering behavior.•Some multi-triggering may occur until the alcohol has evaporated completely.•Let the alcohol evaporate completely (this may take up to 24 hours).•Repeat as necessary until the keys work reliably.•Be patient and careful.

Do not use Isopropyl Alcohol any other parts of your Woovebox.

Please note that some harmless cosmetic "dulling" of the metal around the micro switches may occur with use over time. This is considered normal and does not require cleaning.

As a last resort, it is also possible to service the internals of the switches with some basic tools (and without soldering), however special care and precision is required. If this is ever required, please contact us for a guide.

Replacing the battery

Your Woovebox was designed to put minimal stress on the chosen battery chemistry, and as such the rechargeable battery should last the lifetime of the device with minimal capacity degradation.

If however the battery, for whatever reason, requires replacing, and you are a skilled person (e.g. technician), please contact us to walk you through the proper procedure, as opening up your Woovebox (and reassembling it) requires a special care due to the compactness and tight tolerances of the device. Irreparable damage to components is likely if the procedure is not observed.

Once safely opened and disconnected, the battery itself is relatively easy and cheap to replace.

Firmware updates

Wooveconnect automatically checks for firmware updates, and - with your permission - downloads them and uploads them to your Woovebox.

Firmware updates may fix bugs and glitches, add new features, optimizations, sounds, and even entirely new synthesizers algorithms and sounds.

You are highly encouraged to make sure you are always running the latest firmware, as some Wooveconnect features (such as song rendering) may rely on having the latest firmware installed.

Introducing firmware 2.0

Firmware 2.0 marks a milestone in the Woovebox' development. It further expands on the capabilities of the device in ways that rival machines 2x-3x the price and size.

The new 2.0 firmware coincides with the 2 year anniversary, and the release of two new minor mid-life refreshes (SE and Pro) of the Woovebox hardware. The 2.0 firmware is compatible with the OG Woovebox hardware. The SE version is near-identical to the OG version and targets price-conscious users, while the Pro version comes with a slightly bigger battery and extra accessories/cables to make it a true Swiss army knife. Both come with a strong, textured ABS plastic injection-moulded enclosure.

Highlights

•The sampler has received a massive upgrade with double the sampling time, revamped resampling ("skip back") feature, and more.•Woovebox Expanded; you can now control your Woovebox from any MIDI controller, and turn a dumb controller - even a toy keyboard - into a powerful synthesizer/workstation.•(select devices only; rev. 15B2, 15B2SE, 15B2PRO markings on the back) The MIDI port can now be used as a physical MIDI IN port.
•DJ FX; a completely new way of enhancing your song fragments was introduced to make your compositions sound even more rich and professional•HiFi upgrade; the fruits of relentless optimization were reinvested in sound quality improvements across the board•Sound design enhancements; the synthesizer engine was enhanced with some key new features such as two new filter types, a new LFO hold mode and more
•Improved preset & patch management; 170+ presets, new preset selection mechanism, improved randomization and a brand new randomization mode•Workflow & UI enhancements; new workflow and UI enhancements make the Woovebox even faster to use, while simultaneously improving depth and capabilities•Sequencer; new off-grid live recording, quantization and dynamic swing/quantized playback feature•Wooveconnect 2.0; improved interface, support for uni-directional communication, freely selectable MIDI ports, more granular control over connection stability, and dynamic parameter help/docs display
•Tons of bug fixes quality-of-life improvements and outstanding feature requests

List of new features and improvements

Sampler

The sampler has received a massive upgrade with more sampling time, revamped resampling ("skip back") feature and more;

•Total sample time is now doubled to 2m04s; an additional sample bank (selectable in Song Glob page under 14/A8) adds another 1m02s. Note a song may only use one of the two 1m02s banks.•The device now implements skip-back sampling (up to 11.8s) with auto-arm, allowing after-the-fact sampling of past audio (including internal synthesizer); it replaces old resampling feature.•Random slice selection for multi-sampled kits; if 15/A7/SL.SL/'Slice Select' is set to "multi sample" and there are multiple slice candidates for the same pitch (e.g. 'tune' setting is identical), then the device will select one at random; for example useful for random drum sample variation etc.•Streamlined vocoder with seamless switching between sampler and vocoder modes
•Stereo VU metering•Peristent monitoring•Mic/Line level selector persistency•"Un-slice" (Init MStr) feature, collapsing all slices back into one master sample slice (useful when chopping breaks)

Advanced MIDI, control and sound module capabilities

You can now control your Woovebox from any MIDI controller and turn a dumb controller into a powerful synthesizer/workstation;

•(15B2, 15B2SE, 15B2PRO hardware revisions only - see back of unit) Physical MIDI In; MIDI port can now be used as input, including for firmware updates. Hold 9/A1 while booting to switch port to input mode.•Woovebox Expanded; a new remote control expander mode allows remote control of Woovebox via MIDI, most MIDI controllers and allows even toy keyboards to be turned into advanced workstations. Three control schemes available. Sticker sheet included with Pro, available for ordering or download.
•Woovebox now functions as a full-fledged 16-part (1x 5-voice polyphonic part + 15x monophonic parts) multi-timbral sound module with proper note priority assignment.•MIDI CC#81, CC#82 and CC#83 now map to play, write and value button presses(>=64)/releases(<=63) respectively.•Value knob rotations now map to MIDI CC#96/95 as well as CC#85/84.•Filter cut-off now (non-destructively) responds to MIDI CC#74.•CC#75 now controls automation filter negation (from 0/full filter automation, to 127/no filter automation) in Live and Song modes for flexible (yet fool proof) filter performances.•Now responds to pitch bend•2 MIDI channel mapping behaviors; track editing maps all incoming MIDI 1-16 to the active track, while song and live modes map the incoming MIDI channel 1-16 to 1/Cd-16/A8•MIDI export; song and stem MIDI file export via Wooveconnect.

DJ FX & looper

A completely new way of enhancing your song fragments was introduced to make your compositions sound even more rich, polished, and professional;

•New, highly flexible per-fragment "DJ FX" mode allowing DAW and DJ-like sound and effects;•Per-fragment programmable looper (including external audio), buffer freezer, resampler, overdubber using real-time dynamic 44.1KHz/16-bit/stereo resampling of up to four bars per buffer, with 2 (cross-bounceable) buffers available.•Per-fragment programmable noise generator for risers, fallers, whistlers and more.•Per-fragment programmable multi-mode (high pass / low pass) master filter, with selectable target (synth, buffer, noise, mix).•Per-fragment programmable sine wave drone generator for drops, whistlers and more.•Per-fragment programmable mixing of the above.•Per fragment gater of DJ FX.

Sound quality & fidelity enhancements

By strategically re-investing hard-won DSP cycle optimizations, back into rendering fidelity and accuracy, the engine's sound quality and clarity were improved across the board. Or, in other words, you should find you that your Woovebox simply sounds "more HiFi" and high-end.

•Improved up-sampling interpolation performance and accuracy•Improved virtual analog waveform anti-aliasing•Improved dual-waveform oscillator accuracy•Improved down-sampling sub-sample accuracy•Improved automation precision•Improved reverb•Improved FM modulator resolution•Minor precision improvement to distortion quality for subtractive synthesis algorithm•Minor improvements to HardSync, TSFL and TWEN algorithms performance and sound quality•Fixed inconsistent Hardsync algorithm behavior, and made amplitude of oscillator 2 a 5 octave pitch envelope for oscillator 1•Fixed inconsistent volume behavior for TSFL and TWEN algorithms•Improved Oscillator 3 quality/resolution•Minor performance optimization to Warp algorithm•Minor performance optimization to some FM algorithms•Miscellaneous other minor performance optimizations•More aggressive pre-emptive JIT re-compilation to better cope with DSP usage spikes

New synthesizer engine capabilities

The synthesizer engine was enhanced with some key new features;

•New voice filter type; "Notch" (two variants), rounding out the per-voice multi-mode filter capabilities.•New additional hold behaviour for LFOs (use "negative" values for LFO hold); smooth interpolation between previous and next hold values - allows for smooth randomization of LFOs, as well as for complex aliased, yet smoothly changing, patterns and textures.•Oscillator 3 is now used in dynamics signal path.•Now allowing longer delays for higher BPMs (up to 750ms, or up to 1.5x sixteenth note length for BPM >= 120).

New presets and selection enhancements

A massive selection of up-to-date presets have been added, along with a new, easier way of selecting and randomizing them;

•Revamped patch ('pach') page and browsing mechanic; new, faster preset selection mechanic with pseudo patch names for easier identification.•The Sound Category setting has been removed and is now implied by the preset selection mechanic (Behavior setting still remains).•Eliminated pause & audio dropout when changing patches.•Many, many new presets (170+) (full list here).•Init patch removed from 'pach' context menu, and is now last item when browsing patches ('Init SaW').•Improved patch randomisation with wider repertoire.•New "I Feel Lucky" patch randomization sub-option; creates cross-category randomized patches for truly original sounds.

UI and workflow enhancements

New workflow and UI enhancements make the Woovebox even faster to use, while improving its capabilities;

•New context menu mechanic; turning the value knob while the context menu is up, allows for specifying a parameter (cuts down on context menu options, while being more flexible); indicator will show if more options available.•Relative volume gain (1%-100%) can now be specified for volume raising functionality.•Number of patterns to chain can now be set for pattern chaining functionality.•Number of desired slices can now be set for the auto-slicing modes.•Song dumping modes (song, stems wet, stems dry) now selectable using new mechanic.•Song init now has three total sub-items; rand/random; usual behavior, basic; all tracks initialize as saw waves with most settings zeroed, MIDI; same as basic but with 1/Cd-16/A8 pre-mapped to MIDI channels 1-16.•Ping-pong delay width now runs from 0%-100% rather than 0%-50% (percentage delay for right channel pong).•Miscellaneous "predictive" behavior mechanisms pre-select any likely next context menu option.•Upper ("Hi") and lower ("Lo") chord bank selection now requires holding CdLo/CdHi and turning value knob (instead of old CdLo/CdHi button press cycling gesture).•Parameter zeroing out shortcut now works also works in Song mode•Double-tap value button in song mode now returns to fragment where song was last stopped•If not playing back song, switching to individual tracks from scenes or fragments keeps scene/fragment pattern index configuration intact•Setting a parameter now shows a "virtual knob" visualisation to indicate current value vs range and direction•Long-pressing button to get the full-length description text no longer switches back to normal view after 3 seconds if still holding button•Battery level can now be obtained by holding play and pressing value button

Sequencer enhancements

The sequencer has been enhanced with some new capabilities;

•Live recording now preserves micro timing ("shft")•New quantization option in Seq context menu if pattern or pattern chain contains notes with non-zero shift values•Now always quantizing note lengths to grid to make note offs and legatos more predictable•Swing/"Swng" parameter on a track's GLob page has been replaced by Groove/'grvE' parameter, with "negative" values introducing quantization and positive values introducing swing•When live recording in dub or punch mode, pressing play will stop recording, rather than stop playback altogether•Made some random pattern generators take into account length (e.g. for arpeggios)•Incoming MIDI chord recognition on 1/Cd's SEQ page; any recognized chord will be briefly displayed and stored for optionally programming using regular write button programming mechanic

Wooveconnect 2

Wooveconnect has had an upgrade along with the device firmware;

•MIDI input and output ports are now freely selectable if auto-detect fails
•Wooveconnect can now operate in uni-directional input-only or or output-only mode
•Holding a parameter on device for 8-char "help" text, shows online documentation•A stability vs speed trade-off control is now available for bi-directional connections, with automatic down-throttling in case of packet loss•Device mirroring now happens in the same window as long as window/device is in landscape mode

Miscellaneous enhancements and bug fixes

Some long-standing feature requests, nice-to-haves and minor niggles have been addressed;

•SysEx-only song export/backup added (no audio rendering, MIDI export, or sample export)•Renamed fragment retriggering patterns and added new fragment retrigger patterns and behaviors•Added more gater patterns
•Fixed button combos (rotate + hold, hold + value) sometimes triggering incorrect behavior•Fixed live/song volume scaling not being applied logarithmically for lofi noise (dynamic/"dyna" page) injection during fades•Fixed playthrough logic for edge cases•Many, many, many, small fixes and QoL improvements

Upgrading from 1.0

Make a backup of your 1.0 songs and sample kits. 2.0 is backwards compatible with 1.0 songs and kits, but 2.0 songs and kits are not compatible with 1.0.

Then install your firmware via Wooveconnect. Note that if you have a 15B2 or 15SE revision unit with version 1.0, then the more recent 1.0 firmwares should already be MIDI IN capable for SysEx (on 1.0 too, hold 9/A1 while booting to put the MIDI port in MIDI IN mode). This allows you to update your 1.0 firmware Woovebox to 2.0 via any standard MIDI interface, rather than wireless MIDI.

Important 1.0 vs 2.0 differences

•Chord types are now cycled by holding CdLo/CdHi and turning value knob, rather than pressing CdLo/CdHi to skip to the next type.•Some context menu items now have sub-items or allow you to specify a value. You will see a "running light" indicator/cue when multiple options are available. So, if you seem to be missing an option (for example dump song stems wet/dry), turn the value knob while you have a related option up (dump song).•Preset selection has been overhauled (now; hold category, turn value knob).•Resampler has been removed completely in lieu of the new - far more useful - skip-back sampling.•'Init patch' has moved to become the last item in preset selection ('init saw'), and the undo option (used to be hold 16/A8) is now the first option in preset selection.•Mic/Line-level selection in sampler no longer requires write + play to be held (e.g. just turn value knob).•Audio input monitoring in the sampler is now persistent, and shows a VU meter in the bottom part of the screen. If the bottom part of the screen appears blank, it means that no audio is coming in at that moment.

Quirks, compatibility and breaking changes

Compatibility of your old 1.0 songs should be good overall, though fixed random seeds (7/hh/'SEEd' on a Song's GLob page) will yield different random value sequences in 2.0. Because there are some new subtleties in how fragments behaviors are reset, the "legacy version" parameter (8/Pc on a Song's GLob page) has been expanded to provide a 1.0 compatibility mode. Your "old" songs will automatically set this parameter as appropriate. Newly created songs will use "2.0" behavior.

Oscillator 3's signal is now also sent to the compressors/limiters, gating, side-chaining and ducking, these may need some tweaking depending on whether you were sending tracks with oscillator 3 to these.

Firmware SYX

If you cannot update through Wooveconnect for whatever reason (e.g. incompatible browser), you can download the firmware in .SYX format and upload it via a standard SysEx manager.

Download

https://connect.woovebox.com/woovefirmware.syx

Firmware revision history

This file can be opened in any text editor and details a full history of fixes, enhancements and new features since release.

Download

https://connect.woovebox.com/woovefirmware.ver

Wooveconnect

Wooveconnect runs in your browser or as an Android app, and transfers songs, samples, patches and firmware updates between your computer, tablet or phone and your Woovebox.

Launch Wooveconnect

https://connect.woovebox.com/

Setting up a MIDI connection

Wooveconnect works on any browser that supports WebMIDI. This includes Google Chrome, Microsoft Edge, Opera and Firefox. Please note that Wooveconnect does not work on any browser that use Apple's Safari engine (most iOS browsers) due to Apple's refusal to implement WebMIDI support.

WebMIDI access needs to be allowed/enabled in your browser for connect.woovebox.com. A permissions dialog usually pops up the first time you launch Wooveconnect. If it does not, try refreshing the site with SHIFT+CTRL/CMD+R, resetting permissions (typically by clicking/tapping the settings icon next to the URL in the address bar, or by going into your browser's settings, finding site settings under privacy/security settings, and changing the relevant permissions for connect.woovebox.com).

If using wireless MIDI, Wooveconnect will attempt to automatically detect your Woovebox and attach to the right ports. To manually select the input and/or output ports, click on the bottom right and left buttons respectively.

If you need to pair your Woovebox via Bluetooth, please see these instructions for various operating systems.

Wooveconnect can work in send-only (using one MIDI output), receive-only (using one MIDI input) or mixed bi-directional modes (using a wireless or physical MIDI input, in conjunction with another wireless of physical MIDI output).

Once established, bi-directional connections on firmware 3157+, are automatically protected against by packet loss. Furthermore, the port selection interface will disappear to make more room for other UI elements.

Using Wooveconnect once connected

Uploads are initiated by dragging and dropping .WAV, .AIFF or .SYX files into Wooveconnect. On devices with a touch screen, tapping the "connected" message will bring up a file dialog, allowing you to choose a file to upload.

Downloads (e.g. getting data from your Woovebox) such as .WAV mixes/stems, .MID files, .SYX backups of your songs, patches, etc. are initiated via the context menus on your Woovebox.

On landscape-rotated screens, additional device mirroring and automatic documentation lookup are available. On portrait-rotated screens, only the connection message and port selection interface is available. Therefore, if you are using a phone, you may wish to rotate it to landscape to avail of the increased information.

Stability vs speed

If you find bi-directional connections unstable when uploading data to your Woovebox, you can use the stability vs speed control to tradeoff throughput for stability.

And vice versa, if you have a very stable connection and wish to increase throughput, you may trade stability for increased speed.

If packet loss is detected on a bi-directional connection on firmware 3157+, this setting is automatically adjusted down in an attempt to enhance connection stability.

Song backup, digital audio and MIDI stem rendering

Your Woovebox can render your song to a MIDI file, as well as digital audio (either as a single .WAV file or as sixteen separate stems - dry or wet).

Full song backup is initiated by using the context menu (Hold write, short press value repeatedly to find "duMP Song") in Song mode's Global page. Further sub-options ("duMP St.Wt", "duMP St.dr" or "duMP SyX") are selected by turning the value knob once the "duMP Song" option is displaying.

A full song or stem backup transfers everything you need to restore your song including the song data itself and any sample kits the song uses, all in the form of .SYX files that can be restored separately.

Depending on which context menu option is selected, the following digital audio is also downloaded;

•"duMP SonG" (Dump Song); renders a fullly mixed digital audio rendition as 44.1KHz 16-bit stereo (CD-quality) .WAV file. A single 16-track MIDI file is made available.
•"duMP St.Wt" (Dump Stems Wet); renders one 44.1KHz 16-bit stereo (CD-quality) .WAV files for each individual track (for sixteen .WAV files in total) with each track's multi-effects (Reverb, Chorus, Delay) applied. These sixteen audio stems can then subsequently be mixed down in any application of your choosing. A MIDI file for each track is made available.
•"duMP St.dr" (Dump Stems Dry); renders one 44.1KHz 16-bit stereo (CD-quality) .WAV files for each individual track (for sixteen .WAV files in total) without any of the track's multi-effects (Reverb, Chorus, Delay) applied. These sixteen audio stems can then subsequently be effected and mixed down in any application of your choosing. A MIDI file for each track is made available.•"dump SyX" (Dump Song SysEx only); dumps only the song's SysEx and does not render the song to .WAV nor MIDI files. Use this option if you need a quick backup of a song without transferring its samples and without needing an audio/MIDI render.

Please note that digital audio rendering may take some time and will vary on the length of the song, as well as CPU speed of the machine that is running Wooveconnect.

If you find an applications or media player has trouble opening the WAV files that Wooveconnect produces, then open the WAV file(s) in an application like Audacity (free) to re-export the WAV files to your required format.

Restoring songs

There are two ways in which song .SYX files can be restored to your Woovebox.

1Automatic song number (SG01-SG16) assignment2Manual song number (SG01-SG16) assignment

In both cases, simply dragging and dropping the .SYX file into the Wooveconnect window/page will start the transfer.

In both cases, please note that this will overwrite any previous song in the selected number.

Please also note that this restores only the song data and not any sample kits the song may use. If you wish to also restore any associated sample kits, please restore these separately.

Automatic song number assignment

If Song mode is not active (for example live mode, track edit mode or sampler/resampler mode is active), then the song will be restored to the song number (SG01-SG16) it was assigned when it was backed up.

Manual kit number assignment

If Song mode is active (hold value and short press 16/A8/Song to activate song mode), the song is restored into the currently selected (hold play and press 1-16 to select kit SG01-SG16) song number.

Restoring sample kits

There are two ways in which sample kit .SYX files can be restored to your Woovebox.

1Automatic kit number (US01-US16) assignment2Manual kit number (US01-US16) assignment

In both cases, simply dragging and dropping the .SYX file into the Wooveconnect window/page will start the transfer.

In both cases, please note that this will overwrite any previous sample kit in the selected kit number.

Automatic kit number assignment

If sampler nor resampler mode is active (for example, Song mode, Live mode or Track edit mode is active), then the sample kit will be restored to the sample kit number (US01-US16) it was occupying at the time when it was backed up.

Manual kit number assignment

If the sampler or resampler is active (hold value and short press 14/A6/Sampler to activate sampler or resampler), the kit is restored into the currently selected (hold play and press 1-16 to select kit US01-US16) sample kit.

Patch backup

You can backup any track's patch for later use.

•On your Woovebox, select the track (1/Cd-16/A8) for which you wish to backup the patch for.•Scroll to the patch ("PAch") page.
•Use the context menu (Hold write, short press value repeatedly to cycle through options) to find and action the "dump patch" ("dUMP PAch") option.

The patch should now appear in your browser's downloads as a .SYX file.

Restoring patches

You can restore any backed up patch to your Woovebox to any track,

On your Woovebox, select the track (1/Cd-16/A8) you wish to restore the patch to. You do not have to be on the patch ("PAch") page for that track.

Drag & drop the patch .SYX file into the Wooveconnect window/page to start the transfer.

Uploading new samples

You may add samples to sample kits, by simply dragging and dropping them into Wooveconnect.

Wooveconnect will automatically convert any WAV files to the internal Woovebox format (44.1KHz, 8-bit mulaw or 22.05kHz, 16-bit, depending on detected harmonic content).

To make sure a sample ends up in the right kit, please make the desired kit number ('US01' through 'US16') is active, by activating the sampler interface (hold the value button down, then press 14/Smpl/A6) and selecting the desired kit number (hold play and select 1-16).

Without first activating the sampler interface, your Woovebox will do this for you, and any samples you add to your Woovebox are automatically appended as a slice to the currently (or last) selected sample kit.

Please note that just like using the sampler, any uploads or changes are committed only once you switch away from the sampler.

Setting a song title

To set the currently selected song's title (for file naming purposes), press T or tap/click at the top of the screen in portrait mode.

Song titles may be up to 32 characters in length, and may only contain alphanumeric characters (0-9, a-z, A-Z) or spaces.

Song titles are saved to your Woovebox along with the song data.

File formats

For maximum interoperability with other applications, DAWs and gear, your Woovebox uses two common file formats for everything.

Digital audio is exported and imported as 44.1KHz .WAV files.

Data (e.g. patches, sample kits) are exported as .SYX (MIDI System Exclusive) files for use in Wooveconnect or any other application that send send or receive MIDI System Exclusive ("SysEx") messages.

Resources, videos & downloads

These are a number of resources to help you learn more about the Woovebox and creating your own tracks.

Video resources, tutorials and reviews

Learn more about how your Woovebox works, how it compares, and what it can do with this selection of YouTube videos and channels. Please consider liking and subscribing to these independent content creators. Thank you!

AltWire: "Compact Wonder"

AltWire's Derek Oswald reviews the Woovebox with 2.0 firmware.

AltWire :"A Compact Wonder Gets Even Better With Firmware 2.0"

https://altwire.net/woovebox-review/

Free Beat: "Ultimate Budget Groovebox?"

This is Free Beat's thorough launch day (2023-09-01) review of the Woovebox.

Free Beat: "Is the Woovebox the Ultimate Budget Groovebox?"

https://www.youtube.com/watch?v=eH67yKssdfk

Gar Hoover: "Woovebox - Voyager Tutorial - Pocket Operator Comparison"

A "making of" tutorial for Gar Hoover's brilliant "Voyager" Woovebox track. Gar also goes into how the Woovebox differs from, say, a Pocket Operator (they are very different beasts as he explains).

Gar Hoover: " Woovebox - Voyager Tutorial - Pocket Operator Comparison"

https://www.youtube.com/watch?v=vv98R8kY37c

Floyd Steinberg: "Woovebox: step-by-step guide and brief review"

A guide on how to make a track, and brief review by Floyd Steinberg. Also see the Woovebox drive some other synths, while playing its part in the ensemble.

Floyd Steinberg: "Woovebox: step-by-step guide and brief review"

https://www.youtube.com/watch?v=dJE4Dvd9Mec

Free Beat: "The Woovebox UI is Genius"

An intuitive UI and workflow with just 16 buttons without menu diving!? Free Beat explains how exactly the Woovebox pulls it off.

Free Beat: "The Woovebox UI is Genius"

https://www.youtube.com/watch?v=WAPyL36RZRw

Best Synths & Music Production Gear 2023

The Woovebox was awarded best newcomer of the year for the annual Best Synths & Music Production Gear awards, by the YouTube synth content creator community.

Newcomer of the year award

https://www.youtube.com/watch?v=DnMlfTeL10k&t=1498s

Blossom Merz: "Learning the Woovebox" documentary

An 18-part documentary of an Ambient artist receiving and exploring his Woovebox over 13 days, culminating in an amazing ambient piece broadcasted live on KMRD radio on November 19 2023.

Blossom Merz: "Learning the Woovebox"

https://www.youtube.com/@blossommerz/search?query=woovebox

Woovebox: "Basics and Quick Start Tutorial"

A tutorial commissioned by Pocket Animal Audio and presented by Free Beat, which gets you up to speed quickly with your Woovebox.

Woovebox: "Basics and Quick Start Tutorial"

https://www.youtube.com/watch?v=00skZgQem0w

Wooveboxing YouTube Channel

Wooveboxing is a channel all about the Woovebox. The creator is currently taking a hiatus due to work commitments.

Wooveboxing YouTube Channel

https://www.youtube.com/@Wooveboxing

Rezzonator: "Initial Reaction, Overview and first Song"

Rezzonator is an electronic music veteran, artist and performer with a vast body of work.

Rezzonator: "The Woovebox - Awesome Portable Groovebox - Initial Reaction, Overview and First Song Attempt"

https://www.youtube.com/watch?v=FKfexhkNlNw

Rezzonator: "Sequencer Page Tutorial"

Rezzonator goes into the Woovebox Sequencer page.

Rezzonator: "The Woovebox - Sequencer Page Tutorial"

https://www.youtube.com/watch?v=7QLem-6nq3M

Woovebox songs, albums and performances

This small but eclectic selection of tracks, albums, EPs and live performances, showcases how artists from different backgrounds use the Woovebox in their music.

Please consider supporting these artists by leaving a like, by purchasing their music, or by attending their performances.

Free Beat Live 2025

Free Beat's Live 2025 Show featured two Woovebox-only tracks; one live performance by Galactic Tapes, and one beautiful track by Mega Cartridge.

Galactic Tapes Opener

A brilliant performance by Galactic Tapes, controlling his Woovebox' synth channels using a Midi Fighter Twister controller, and switching scenes on the fly on the Woovebox itself.

Galactic Tapes - Opener

https://www.youtube.com/live/KyMUe_fEiC4?t=923s

Mega Cartridge

A fantastic track by Mega Cartridge with great drums and intricate synth and arpeggio lines.

Mega Cartridge

https://www.youtube.com/live/KyMUe_fEiC4?si=Jf8KTO8SkNXbrUpe&t=4893

Bomb of Hope - Live at Espai Llimera

"This is the first time I've composed something and played live using a wonderful little device called Woovebox. Initially purchased as a "sketchpad", I quickly realized the true potential of the platform and decided to make, while learning, a full album using only this tiny guy."

Bomb of Hope - Live at Espai Llimera

https://www.youtube.com/watch?v=2Eh3dArOhBc

AA Battery - "LFO"

A faithful cover of the techno classic "LFO" by LFO, arranged by AA Battery.

AA Battery: "LFO (Woovebox Cover)"

https://www.youtube.com/watch?v=MKdMZ9EIzPI

Floyd Steinberg - "A Woove in the Night"

A synth-improvisation with the Woovebox driving other synths while simultaneously playing its part in the ensemble.

Floyd Steinberg: "A Woove in the Night"

https://www.youtube.com/watch?v=incHFWcWn88

Skydevaaben - "Euphoric Threshold"

Throughout this wonderful performance, the Woovebox takes center stage, driving other gear and showing off its own synthesis acumen.

Skydevaaben: "Euphoric Threshold"

https://www.youtube.com/watch?v=c7BXCm2A6vc

Galactic Tapes - (album) "The Woove Project"

This is a concept album written during the month of December 2023 exclusively on the Woovebox, with mixing and mastering done in Reaper.

Galactic Tapes: "The Woove Project" (album)

https://galactictapes.bandcamp.com/album/the-woove-project

Char Baba - (EP) "Send Him Back to High School"

A Woovebox-only EP, with brilliant use of the Woovebox sampler, supported by its synths.

Char Baba - (EP) "Send Him Back to High School"

https://www.youtube.com/watch?v=2Zw_uAtDxuE&list=OLAK5uy_mzvL353ziy2xQ_vzrqXxPT35Owds-4vHU

Galactic Tapes - "Electro Vibes"

A great tune performed live in the Live mode's "scene mode", where Galactic Tapes remixes his brilliant track on the fly.

Galactic Tapes: "Electro Vibes" (scene mode performance)

https://www.youtube.com/watch?v=akepE1SXhJs

Galactic Tapes - Live Twitch Set

Full twitch live set recorded April 9th, 2024.

Galactic Tapes: Live Twitch Set

https://www.youtube.com/watch?v=_HsCzS1NoHc

Galactic Tapes - "Fight Water with Water"

Synthwave on the Woovebox, direct output, no post editing.

Galactic Tapes: "Fight Water with Water"

https://www.youtube.com/watch?v=p5tKIoHGSg8

Gar Hoover - "Voyager"

A Chill DnB track exclusively made on the Woovebox by the talented Gar Hoover. Also check out his tutorial / Woovebox review & "making of" this track.

Gar Hoover: "Voyager"

https://www.youtube.com/watch?v=omwtYmKnbHE

Gar Hoover - "Tilt"

A DnB track exclusively made on the Woovebox by the talented Gar Hoover.

Gar Hoover: "Tilt"

https://www.youtube.com/watch?v=WXvieI5tsBM

Hadyn Lander - "Tears for Fears"

Hadyn Lander has done a number of incredible Woovebox YouTube shorts, playing live on the 1-16 keyboard in some of them.

Hadyn Lander: "Tears for Fears - Everybody Wants to Rule the World"

https://youtube.com/shorts/J0oNg1DsVsg?si=DbkMfXv8XQSByT7r

Rich Selby - "Bach Cello Suite no. 1"

Bach Cello Suite No. 1 in G Major. BWV 1007. The one Yo-Yo Ma plays. Except it's in D and entirely synthesised on the Woovebox.

Rich Selby: "Bach Cello Suite no. 1"

https://www.youtube.com/watch?v=T489XsrqNsg

Rezzonator - "I Surrender"

A great Woovebox debut track with excellent use of 303 emulation.

Rezzonator: "I Surrender"

https://www.youtube.com/watch?v=zF8wmt4WOTY

Nocteco - "A Little Bit of Everything"

A fantastic Woovebox track with creative sound design.

Nocteco - "A Little Bit of Everything"

https://www.youtube.com/watch?v=HBpEHp5uf8Y

David DeLuge - "Fear"

David's first Woovebox magical song "Fear" was created only a few days after first acquainting himself with the Woovebox.

DavidDeluge: "Fear"

https://www.youtube.com/watch?v=Rkr3Po870dg

Ewan, York - "Dr. Who Theme"

Ewan, York has has created many Woovebox tunes, including this great take on the Doctor Who theme tune.

Ewan, York: "Dr. Who Theme"

https://www.youtube.com/watch?v=2qfQfjEOnOM

Blossom Merz - Generative Ambient

I've had the Woovebox for 13 days and decided that my first chiptune ambient piece was good enough to broadcast it on my radio show.

Blossom Merz - Generative Ambient

https://soundcloud.com/blossommerz/kmrd-woovebox-demo

Example songs and patches .SYX files

If you'd like to see how some songs or patches are put together, load them up through Wooveconnect.

"Knight Rider" (1982) (remake) song SYX

A track showing how a complex song that famously features equal parts vintage synth and real-world instruments, can be recreated in the Woovebox.

The track does not use samples and 100% of the sounds are generated by synthesis, including the guitars, all percussion and brass stabs.

The track makes use of a number of advanced techniques, such as the use of overlapping notes + legato for the "siren" sounds, as well as multi-instrument mode to layer timbres across multiple voice.

A number of patches (for example the muted guitar patch) employ subtly randomized phase starts of the oscillators and/or noise impulses, which creates much more realistic/"alive" real-world emulations of instruments - this sort of behavior is impossible to capture when using samples.

The secondary delay unit is configured to use its "sparkle" algorithm to selectively aid high frequency sizzle on some patches.

Finally a period-appropriate noise profile and floor is chosen.

Download SYX file

https://connect.woovebox.com/resources/KnightRider.syx

"Not My Love" Song SYX

DJ FX are a powerful way to add polish and sophistication to your songs.

This feature adds sounds and capabilities normally only accessible via after-the-fact DAW manipulation or heavy resampling.

"Not My Love" is a 100% synthesized song (except vocals), and demonstrates;

•Liberal use of Song mode's per-fragment DJ effects•Custom buffer lock effects•Custom reverse reverb effects•Custom DJ filters•Custom drone effects•Custom white noise effects•Custom risers & fallers•Gating of the DJ FX•Reverse audio loop that emulate the quintessential House "sampled loop"-based backing, enriching the composition, yet without using samples or using up tracks or DSP resources•100% synthesized piano / chords•Filter, distortion and delay effects on the vocal•Subtle vinyl noise, crackle

While playing back the song, switch to DJ FX view (hold value, short-press A8/Song while viewing a song fragment). This will give you an overview of which buffers and/or effects are playing.

Download ZIP file

https://connect.woovebox.com/resources/Woovebox_Song_NotMyLove_SYX.zip

"What Is Love" (remake) song SYX

A track showing how an entire produced song can be easily rebuilt in the Woovebox, with all elements accounted for - even the vocal line.

The track intentionally eschews the use of samples (for example, in the original, the dance organ is a sample of multiple layered organs), and 100% of the sounds are generated by synthesis.

Patches of note are;

•The iconic (for the 90s) Lately Bass approximation•The dance organ (spread over two voices)•The iconic (for this track) phasing saw wave

The track makes liberal use of overlapping notes + legato for the voice line approximations.

A number of patterns use conditionals to vary programmed notes depending on playback counter, in lieu of recording over the span of many chained patterns.

Download SYX file

https://connect.woovebox.com/resources/WhatIsLove.syx

"Your Words Against My Words" Song SYX

An 80s-oriented track that demonstrates use of the "sparkle" algorithm as well as advanced sound design of 80s-related timbres such as a PolySix-like fat line bass.

Demonstrated are;

•100% real-time synthesized song from basic waveforms and white noise; strictly no samples were used for this track
•Synthesis of patches (e.g. PolySix-like fat line bass, leads, guitar, percussion) suitable for 80s- and synth-inspired songs
•Extensive use of "Sparkle" algorithm on the second delay unit, to synthesize augmenting musical overtones to generate interest in the higher frequencies

NOTE: requires latest firmware to be installed on your device

Download SYX file

https://connect.woovebox.com/resources/Woovebox_Song_YourWordsAgainstMyWords2.syx

"The Stars" Song SYX

A track demonstrating the power of the Woovebox' Song mode, where just a single 16-step pattern per track is spun out into a full-fledged compelling song, complete with multiple build-ups, breaks and themes.

Further demonstrated are;

•All patches real-time synthesized from scratch, with the exception of built-in crash cymbal sample and imported vocal samples
•Extensive use of "Sparkle" algorithm on the second delay unit, to synthesize augmenting musical overtones to generate interest in the higher frequencies

NOTE: requires latest firmware to be installed on your device, and vocal samples are not included for licensing reasons.

Download SYX file

https://connect.woovebox.com/resources/Woovebox_Song_TheStars.syx

"007: Requiem for a Spy" Song SYX

A 007-inspired homage track demonstrates synthesis of complex orchestral timbres.

Demonstrated are;

•Powerful real-time synthesis of complex timbres using only noise and sine, triangle, saw and square waves; strictly no samples were used for this track
•Effortless use of quintessential 6th and 9th "Bond" chords and progressions•Extensive use of multi-instrument mode, allowing tracks to switch between timbres•Use of conditionals, including on chord track•AI resource allocation optimizer (see below)

NOTE: this song requires latest firmware to be installed on your device.

AI optimizer

The complex timbres in this song push the device hard, and the device may run out of DSP resources on first playthrough in areas of the song that are particularly heavy on the DSP.

The AI DSP resource allocation optimizer will learn and predict the DSP usage spikes characteristics of your song, and pre-empt them by intelligently (re)allocating system resources such as waveform cache memory. Just one or two playthroughs should be sufficient for these optimizations to take effect.

The learned optimization strategy will be saved along with the song for future use (note that the learned strategy is not saved until the user causes a save event, such as changing a parameter, adding/removing a step, etc.).

While learned optimization strategies are saved along with the songs for future use, some firmware updates may invalidate these strategies due to differences in resource use/availability between firmwares. This means that these strategies may have to be re-learned if the song is played back on future firmwares.

Download SYX file

https://connect.woovebox.com/resources/RequiemForASpy2.syx

"1, 2, 3, Let's Go!" Song SYX

Dark house demo song demonstrating real-time pitch shifting / time warping and gater behavior.

This 100% Woovebox produced dark house track was created to demonstrate;

•100% real-time synthesized song, except of four samples ("one", "two", "three" and "let's go") recorded on-device using a $2 microphone in the line-input•Real-time pitch shifting and time warping of the four samples•On-board vocoder ("let's go").
•Gater behavior in/near breaks
•Notable synthesis of all drums, scratch effect, 303, analog PWM drone and house organ stabs•Subtle vinyl noise and crackle

NOTE: requires latest firmware to be installed on your device

Download ZIP file

https://connect.woovebox.com/resources/Woovebox_Song_123LetsGo_SYX.zip

Good Ol' Days Song SYX

Chiptune / bitpop track that demonstrates real-time synthesis of the quintessential sounds of 70s, 80s, 90s and 00s home computers and game consoles, as well as a real-time rearranged sliced Amen break.

This 100% Woovebox produced nostalgic chiptune / bitpop track was created to demonstrate;

•Real-time synthesis of the quintessential sounds of 70s, 80s, 90s and 00s home computers and game consoles - strictly no samples used for these
•Real-time sliced/rearranged-from-source Amen break (used in games such as Sonic the Hedgehog, Metal Gear, Need for Speed, Devil May Cry, etc.)

In order of appearance; Amiga / .MOD / .STM (lo-fi gritty string pad - synthesized and bit crushed), AY-3-8910 / PSG / MSX / Atari ST / Amstrad CPC (3-voice square wave chords with decay), 2A03 / NES (4-bit stepped triangle wave), 2A03 / NES (fixed 25% duty cycle square wave), Amen break, Wii Channel (sine lead), various 70s and 80s arcade effects, C64 SID (PWM lead with slides and vibrato), OPL / SEGA Genesis / Mega Drive / Ad Lib / Sound Blaster (FM), "fake chord" hyper arpeggios, 70s and 80s Sample & Hold explosion.

NOTE: requires latest firmware to be installed on your device

Download ZIP file

https://connect.woovebox.com/resources/Woovebox_Song_GoodOlDays_SYX.zip

Da Funk Song SYX

This short song emulates this seminal track's iconic 303 and lead sounds.

NOTE: requires latest firmware to be installed on your device

Download SYX file

https://connect.woovebox.com/resources/Woovebox_Song_DaWhat_SYX.syx

Multi-sampled Upright Piano Patch SYX

This patch features a realistic multi-sampled public domain piano with samples from each octave, enhanced with a Super Saw wave, analog oscillator styles, resonating cabinet simulation, and subtle pitch and phase variations. The result is a nuanced, acoustic organic sound, simulating real piano characteristics.

NOTE: requires latest firmware to be installed on your device

Download ZIP file

https://connect.woovebox.com/resources/Woovebox_Patch_UprightPiano_SYX.zip

Socials, Discord, and forums

Find active conversation, tips, tricks and updates on these forums and social media.

Woovebox Reddit

An active subreddit dedicated to Woovebox tips, tricks, tracks and support.

Woovebox Reddit

https://reddit.com/r/Woovebox/

Unofficial Discord

An Discord channel dedicated to Woovebox tips, tricks, tracks and support.

Unofficial Woovebox Discord

https://discord.gg/RJ7wfBEx2V

Elektronauts Woovebox Thread

An active thread on the Elektronauts forums with support, tips, tricks and updates.

Elektronauts Woovebox Thread

https://www.elektronauts.com/t/the-woovebox-a-tiny-and-cheap-but-ridiculously-powerful-groovebox/199591

Unofficial Facebook Group

A group dedicated to Woovebox users, exchange on usage, sharing tips etc.

Woovebox Facebook Group

https://www.facebook.com/groups/1796111340904661/

Quick reference PDF

A quick overview of basic operations and parameters as a downloadable PDF.

Download 2.0 reference PDF

https://connect.woovebox.com/docs/reference.pdf

Remote control "expanded" sticker sheet PDF

Downloadable PDF version of the sticker sheets for remote control expander mode. Physical sticker sheets can also be ordered through the webstore,

Download sticker sheet PDF

https://connect.woovebox.com/Woovebox-2-sticker-sheets-100x100mm.pdf

Model comparison

Woovebox

OG 2023

•Firmware 2.0 compatible•3.5mm MIDI OUT•1000mAh battery (9h+)•68 g / 2.4 oz•SLA 3D printed enclosure•Sync OUT breakout cable

Woovebox SE

Ultimate value

•Firmware 2.0•3.5mm MIDI IN/OUT switchable•1000mAh battery (9h+)•66 g / 2.4 oz•Injection moulded ABS enclosure + laser marking

Woovebox Pro

Swiss army knife

•Firmware 2.0•3.5mm MIDI IN/OUT switchable•1200mAh battery (10h30m+)•69 g / 2.5 oz•Injection moulded ABS enclosure + laser marking•Sync OUT breakout cable•Stereo to 2x mono splitter cable•3.5mm MIDI Type A to female DIN cable•Voice/vocoder microphone•Expander sticker sheets x2

Gallery

Launch Wooveconnect

Manage songs, samples, audio stems, firmware updates and more through Wooveconnect.

Launch Wooveconnect

https://connect.woovebox.com/

Shop

Buy your Woovebox and accessories in our webshop.

Enter our webshop

https://shop.woovebox.com/

Important notes

Please note no other cabling (such as USB-C charging) nor charger is included in order reduce waste, weight, and cost.

Please note that you are responsible for any additional taxes (such as VAT, import taxes or tariffs) or regulations that may apply to your country or region.

Shipping, delivery and returns

Shipping costs vary depending on destination. Standard and Express options are selectable on checkout for countries other than Germany. Both require signature-on-delivery. Please see here for delivery time estimates. We endeavor to ship your Woovebox next business day upon ordering. You will receive emails from Australia Post ("auspost.com.au") or DHL with shipping updates and a tracking number. Please contact us with your order number if you have not received your tracking info email within 3 business days of purchase.

We offer a 7-day money back guarantee for Woovebox units sold directly by us; the 7 days are counted from the arrival of the item. Your Woovebox has to be in an “as good as new” condition for us to accept full refunding. We do not offer returns on accessories.

If your Woovebox is demonstrably defective, we will cover the shipping charges. In all other cases, the customer covers all shipping charges. You must contact Woovebox first before returning, and you cannot return simply due to a “change of mind”; please make sure the Woovebox is fit for your particular purpose, for example by acquainting yourself with the hardware's quirks and limitations.

If returning, your Woovebox must be returned in original packaging and packed well. In case these conditions are not met, we reserve the right to impose a fee or refuse to accept the return.

Country-dependent costs, regulations and exclusions

Please note that you are responsible for any additional taxes (such as VAT or any import taxes) and/or import or compliance regulations that may apply to your country or region. Please note that we cannot ship to Belarus, Russia or Ukraine at this time.

Mailing list

Subscribe to stay up to date with Woovebox news, firmware updates and more. Unsubscribe any time through the link in the footer of any email.

Terms, Conditions and Warranty

Terms & Conditions for www.woovebox.com

1. Introduction Welcome to www.woovebox.com ("Website"). The following Terms & Conditions apply to your use of our Website, the services provided through our Website, and any purchases made through our Website. By using our Website, you agree to be bound by these Terms & Conditions. If you do not agree to all the Terms & Conditions, then you may not access the Website or use any services.

2. Compliance with Australian Law Our e-commerce store operates within the jurisdiction of Australia and adheres to the laws as applicable under the Australian Consumer Law and other relevant legislation. By agreeing to our Terms & Conditions, you acknowledge that you are bound by these laws.

3. Use of Website and Service a. License to Use: We grant you a limited, non-exclusive, non-transferable, and revocable license to use our Website and services for personal, non-commercial purposes. b. Prohibited Conduct: You agree not to use the Website for any unlawful purpose or in any way that interrupts, damages, or impairs the service.

4. Consumer Guarantees As a consumer, you have certain rights under the Australian Consumer Law and other relevant consumer protection laws. Nothing in these Terms & Conditions is intended to override or limit your statutory rights under these laws.

5. Products and Orders a. Our products are described on the Website, and we endeavor to ensure that all descriptions are accurate. However, we do not warrant that the descriptions, colors, information, or other content available on the Website are accurate, complete, reliable, current, or error-free. b. When you place an order, you are offering to purchase a product subject to these Terms & Conditions. All orders are subject to availability and confirmation of the order price.

6. Pricing and Payments a. All prices are inclusive of GST (Goods and Services Tax) where applicable. b. We reserve the right to adjust prices, goods, and special offers at our discretion.

7. Returns and Refunds Our Refund Policy is in accordance with the Australian Consumer Law. We offer refunds or replacements if the product is not of acceptable quality, does not match the description, or does not meet the purpose for which it was made. You must present proof of purchase to claim a refund or replacement.

8. Privacy Your privacy is important to us. Our Privacy Policy explains how we collect, use, disclose, and protect your personal information as per the Privacy Act 1988.

9. Limitation of Liability To the maximum extent permitted by law, we exclude all liability for any loss or damage of any kind (including special, indirect, or consequential loss and including loss of business profits) arising out of or in connection with the Website content and the use or performance of the Website, except to the extent that the loss or damage is directly caused by our fraud or willful misconduct.

10. Changes to Terms & Conditions We reserve the right to make changes to these Terms & Conditions from time to time. Your continued use of the Website following the posting of changes will mean that you accept and agree to the changes.

11. Governing Law These Terms & Conditions are governed by the laws of Australia, and you submit to the non-exclusive jurisdiction of the courts in Australia for resolving any disputes.

12. Contact Information For any questions regarding these Terms & Conditions, please contact us at info@woovebox.com.

Product Warranty

Pocket Animal Audio Pty. Ltd. (the "Company") hereby assures that products purchased via its website, www.woovebox.com, shall be free from defects in materials and craftsmanship at the time of delivery. This assurance is limited to a term of 12 months commencing from the date of delivery and is granted exclusively to you, the original purchaser of the product. This warranty is enforceable only upon presentation of the original purchase receipt.

Our goods come with guarantees that cannot be excluded under the Australian Consumer Law. You are entitled to a replacement or refund for a major failure and compensation for any other reasonably foreseeable loss or damage. You are also entitled to have the goods repaired or replaced if the goods fail to be of acceptable quality and the failure does not amount to a major failure.

The following are not covered under this warranty:

(a) Damage resulting from physical abuse, such as dropping the unit or impacts from hard objects;

(b) Damaged connectors due to physical stress;

(c) Damage to buttons;

(d) Damage, wear, or failure resulting from accidents, negligence, misuse, improper installation or operation, or non-adherence to the instructions in the product's owner’s manual;

(e) Repairs or attempted repairs by parties not endorsed by Pocket Animal Audio;

(f) Any product that has been modified, or whose serial number has been altered, defaced, or removed;

(g) Normal wear and tear or required periodic maintenance;

(h) Damage resulting from improper storage;

(i) Deterioration due to perspiration, corrosive environments, or other external factors like extreme temperatures or humidity;

(j) Damage resulting from power line surge or other electrical anomalies, including incorrect voltage;

(k) Damage caused by connecting non-certified USB chargers or equipment to the product's USB port;

(l) Damage due to fluid ingress or battery leakage;

(m) Radio frequency or electromagnetic interference (RFI/EMI) resulting from improper grounding or the use of uncertified equipment, where applicable;

(n) Damage from uses other than the intended purpose of the product;

(o) Products purchased as ex-demo, refurbished, or second-hand items;

(p) Aesthetic changes that occur naturally over time or through normal use.

If the product was purchased through a reseller, this warranty does not apply. Customers are strongly advised against attempting to open the unit. Any such attempts will invalidate this warranty.

Nothing in this warranty purports to modify or exclude the conditions, warranties and undertakings, and other legal rights, under the Australian Competition and Consumer Act and other Australian laws. This warranty gives you specific legal rights, and you may also have other rights that vary from state to state.

Privacy Policy

Last updated: 2025-11-25

1. Overview

This Privacy Policy explains how Pocket Animal Audio Pty. Ltd. (“we”, “us”, or “our”) collects, uses, discloses, stores, and protects your personal information in accordance with the Privacy Act 1988 (Cth) and the Australian Privacy Principles (APPs).

By using our website, products, apps, or services (“Services”), you agree to the terms of this Privacy Policy.

2. What Personal Information We Collect

We may collect the following types of personal information:

Information you provide directly

•Name•Email address•Postal or billing address•Phone number•Account login details•Payment information (processed via secure payment providers)•Support or communication history

Information collected automatically

•IP address•Device information•Browser type•Usage data, including pages viewed, session duration, or app interactions•Cookies and behavioural analytics

Optional / conditional (only include if applicable)

•Location data (GPS or IP-based)•Audio, image, or video data (e.g., if you upload media)•User-generated content (feedback, reviews, comments)•Technical logs from connected hardware or devices

3. How We Collect Personal Information

We collect personal information in several ways, including:

•When you use our website, app, or services•When you create an account•When you communicate with us (email, contact forms, support tickets)•Through cookies, analytics tools, and tracking technologies•Through third-party integrations you authorise (e.g., payment processors, authentication services)

4. Why We Collect, Use & Disclose Personal Information

We may collect and use your personal information for the following purposes:

•To provide and improve our Services•To verify your identity•To process payments and invoices•To provide customer support•To communicate updates, notifications, or marketing (you may opt out anytime)•To customise or improve user experience•To comply with legal obligations•To protect the security of our systems and users

5. When We Share Personal Information

We do not sell personal information.

We may share personal information with:

•Service providers (e.g., hosting, analytics, payment processors)•Professional advisers (lawyers, accountants, auditors)•Regulators or law enforcement where required by law•Parties involved in a business transaction (e.g., merger, acquisition), subject to confidentiality

All third-party service providers are required to comply with applicable privacy obligations.

6. Overseas Disclosure

Some of our service providers may be located outside Australia, including in [list countries if known, e.g., USA, EU, Singapore].
When we transfer data internationally, we take reasonable steps to ensure the recipient complies with the APPs or equivalent safeguards.

7. Cookies & Tracking Technologies

We use cookies and similar technologies for:

•Authentication•Analytics•Remembering user preferences•Improving website/app performance

You may disable cookies through your browser settings, but some Services may not function properly.

8. Security

We take reasonable steps to protect personal information from:

•Misuse•Interference•Loss•Unauthorised access, modification, or disclosure

Security measures may include encryption, access controls, network protections, and regular audits. However, no method of digital transmission is completely secure.

9. Accessing or Correcting Your Personal Information

You may request:

•Access to the personal information we hold about you•Corrections to inaccurate or outdated information

Requests can be made using the contact details below. We will respond within a reasonable timeframe, usually within 30 days.

10. Data Retention

We retain personal information only for as long as required for:

•The purpose for which it was collected•Legal or regulatory obligations•Legitimate business interests

After this period, information is securely deleted or anonymised.

11. Marketing Communications

We may send you email updates, newsletters, or promotional offers.
You may opt out at any time by:

•Clicking the “unsubscribe” link, or•Contacting us directly

12. How to Make a Privacy Complaint

If you have concerns about how we handle your personal information, please contact us first. We will investigate and respond promptly.

If you are not satisfied, you may contact:

Office of the Australian Information Commissioner (OAIC)
Website: oaic.gov.au
Phone: 1300 363 992

13. Contact Us

For questions, requests, or complaints regarding this Privacy Policy:

Pocket Animal Audio Pty. Ltd.
Email: info@woovebox.com
Address: 213 Olinda-Monbulk Road, Monbulk, Victoria, Australia
Website: woovebox.com

14. Changes to This Privacy Policy

We may update this Privacy Policy from time to time.
The updated version will be posted on our website with a revised “Last updated” date.