OP-1

A Guidebook
Field A Notebook
A Reference Book

An unofficial reference for

SYNTHDAWG teenage engineering’s OP-1
OS
PRODUCER GUIDES
field synthesizer 1.5.0
The OP-1F Notebook : Reference & Guide I
II The OP-1 Field Notebook : Reference & Guide
 Contents
1 Overview 1
2 Tape 11
3 Drum 33
4 Synths 59
5 FX & Modulation 103
6 Sequencers 145
7 Mixer 171
8 Sampling & Audio 183
9 MIDI & Sync 205
10 System 227

The OP-1 Field Notebook : Reference & Guide III

IV The OP-1 Field Notebook : Reference & Guide
 1
Overview
Based in Stockholm, Sweden, Teenage an eco-system of audio devices, accessories
Engineering released the Operator 1 and bags inspired from outdoor experimentation
Synthesizer in 2011 and have shown and exploration. The OP-1F is an inspiring
commitment in continuously innovating and device with many under the hood powerful,
updating its features ever since. Operator 1 innovative features for both newcomers and
Field or OP-1F as it will be called from herein experienced producers alike. This book serves
consists of a variety of elements including as a reference, a guidebook and a notebook. By
synthesizers, drum machines, tape recorder, using it in editable applications you can add your
sampler and sequencers. The OP-1F is the own notes and comments and build a useful
next generation of OP-1 with 100 new features informative and personal document. The book
and updates. OP-1F builds on the functions design allows space for this in the wide margins
such as Tape and Synth engines and goes on or free pages. The OP-1F Notebook is intended
further to make them even better. All these to expand and extend beyond the official
new features are packaged in a slicker, instruction manual and not necessarily replace
slimmer and stylish enclosure. The core it. It provides a quick reference, walkthroughs,
features include Tape, a 4 track stereo hints and tips and coupled with your own notes
recorder with 8 available tapes. The Synth and can evolve into a comprehensive and personal
Drum engines offer a multitude of unusual reference to the OP-1F. Hopefully something
synthesizer, drum and sampling models. Its that becomes a trusted companion to use
unique style and quirky approach is a wolf in alongside the OP-1F or to just pick up as and
sheep's clothing and compliments other gear when needed.
in the Teenage Engineering Field collective,

The OP-1 Field Notebook : Reference & Guide 1

1 Overview
1.1 How to Use This Notebook NOTES

This book combines a formal reference with your own notes and
comments, bringing together a detailed guide, user templates and tips
alongside a record of your own comments which can be captured in the
te n here Here
Can be writ
wide margins or blank pages allocated for note taking.
Your Notes
The style and sections are laid out with walkthroughs, step by step guides
and illustrations in order to cover multiple learning styles.

(Blue)

Rounded parentheses represent the context sensitive, Blue, Ochre, Grey

and Orange coloured rotary controls. Some tables also show the colours
representing the specific rotary control. Knobs can be turned or pressed.

[Shift]

Square parentheses contain functions that are selectable by a specifically

defined hardware button.

[Shift] + [Mic]

Functions which require two button selections simultaneously are shown

with a + symbol between each button.

Some buttons carry symbols representing the specific function, for example
the Synth, Drum, Tape, Sampler buttons are marked with unique symbols.
When referring to these buttons the same convention using square
parentheses containing descriptive text is used i.e. [Drum], [Tape] etc.

Keyboard buttons will be called ‘Keys’ or referred as [Note] in the

instructions. The 4 Context sensitive track buttons located under the
display are referred to as T1, T2, T3 or T4. Multi function buttons 1-8 are
also labelled by their specified number.

(Blue) (Ochre) (Grey) (Orange)

Shift
Did you
know?
[Synth] [Drum] [Tape] [Mixer] e.g. [Play], [Shift], The und
has velcr erside of the OP-1
Arrows [Left] & [Right] o pads to F
a surfac help fix to
e

I 2 3 4 IN …..
8
M2

[T1] [T2] [T3] [T4] [1] ….. [8]

2 The OP-1 Field Notebook : Reference & Guide

 Overview 1
1.2 Hardware Overview

Right Side Right Edge

Internal Microphone

Audio Out
3.5mm Stereo Jack

8 Audio In
Status Indicator 3.5mm Stereo Jack
Charge State & Audio Levels

USB Type C
Power, Audio & MIDI

On / Off Indicator
Lit Green is On

On / Off Switch
Down is On
field

Typically Battery Life is 24 Hours for the OP-1 Field. Ensure battery is charged at a minimum of
every 6 Months to keep the condition healthy. Hold [Help] to check battery charge state.

Underside Left Edge

Dual Velcro Rings Rear of Speaker Ventilation

Passive Audio Radiator

Additional Mounting Rings Included

The OP-1 Field Notebook : Reference & Guide 3

1 Overview

2 3 4 5 6 7 8
I 2 3 4 IN OUT

2 Octave Keyboard
Shift
field

Synthesizer Engines [Synth] Drum Synthesizer [Drum]

[Shift] + [T1] selects synth browser and [Shift] + [T1] selects drum browser and
[Shift] + [1] to [8] for the synth preset browser. [Shift] + [1] to [8] for drum preset browser.

Tape [Tape] Mixer [Mixer]

[Shift] + [Tape] for settings. Access to Track Mixer Level & Pan, EQ, Main
Select Track [T1] [T2] [T3] [T4]. FX Slot, and Main output & drive compressor.

Lift [Lift] Drop [Drop]

Copies from the a source into clipboard Pastes the selection from the clipboard
memory. Can lift track audio, presets etc memory onto the destination e.g. tape.

Split [Split] Record [Rec]

Divides’ a take at the playhead location. Record to tape using [Rec] + [Play] or
[Shift] + [Split] will join i.e. ‘glue’ together takes. [Shift] + [Rec] to arm record.

Play [Play] Stop [Stop]

Transport button for playing the recordings. Transport button for stopping the playback.

Rewind / Left [Left] Forward / Right [Right]

Rewind In Tape mode. Jump to bar markers with Forward In Tape mode. Jump to bar markers with
shift. In Synth / Drum Mode this transposes the shift. In Synth / Drum Mode this transposes the
keyboard range down an octave. keyboard range up an octave.

Help [Help] Tempo [Tempo]

Context sensitive help. Pressing help + keyboard Timing & Tempo. Access to Metronome, Tape Speed
note shows the note. User guide [Shift] + [Help] . and BPM. [Shift] in this mode provides fine adjustment.

4 The OP-1 Field Notebook : Reference & Guide

 Overview 1

Hi Resolution,
Hardened Glass,
Flush Display

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

1 IN [1] 2 OUT [2]

Selects drum / synth preset 1. In tape mode, 2 Selects drum / synth preset 2. In tape mode,
IN sets the Loop IN position OUT sets the Loop OUT position.

3 Loop [3] 4 Brake [4]

3 Selects drum / synth preset 3. In tape mode, 4 Selects drum / synth preset 4. In tape mode,
sets the Loop On or Off. performs a tape effect ‘brake stop’.

5 Reverse [5] 6 Chop [6]

5 Selects drum / synth preset 5. In tape mode, 6 Selects drum / synth preset 6. In tape mode,
reverses the play direction. ‘Chop’ tempo locked tape repeat / stutter.

7 M1 [7] 8 M2 [8]
7 Selects drum / synth preset 7. In tape mode, 8 Selects drum / synth preset 8. In tape mode,
M1 ‘Memory slot’ M1 stores tape and mixer M2 ‘Memory slot’ M2 that stores tape and mixer
parameter settings. parameter settings.

Microphone & Input Source [Mic] COM [Com]

Turns the audio sampling source on/off. Access to Mixdown. [Shift] + [COM] to
[Shift] + [Mic] Opens input source selector. access external communications options.

Sequencer [Seq] Volume [Volume]

Sequencer On/Off. Main output volume level control.
[Shift] + [Seq] opens sequencer browser

Rotary Knobs (Blue) (Ochre) (Grey) (Orange) Track Buttons [T1] [T2] [T3] [T4]
Multi-Functional control knobs. Function will be
2 Selects Tape Tracks. Also selects dynamic
context sensitive, based on the selected option. 3 4 functions based on the options displayed above.

The OP-1 Field Notebook : Reference & Guide 5

1 Overview
1.3 Power & Charging NOTES

A full charge of the battery is estimated to operate the OP-1F for up to 24

Hours. The current battery state is available on the right side LED Bar
indicator which shows battery charge state when holding the [Help] button.
Charging is performed using the USB-C connector. A USB-C to USB-C
cable is provided within the original OP-1F package but a USB power
supply will be required, the rating of which will govern charge duration.

Mains to USB Adapter

1 Connect USB-C to a mains connected It is possible to use a power bank
USB power supply adapter. with a USB-C output.

USB Power Connection

2
Connect the other end of the USB-C
cable to the OP-1F USB Socket

Charging Active
3 The OP-1F Power LED will illuminate red and
may flash slowly when the battery is low to
indicate charging. Green will be fully charged.

Check Battery Level

4 With the OP-1F turned on, the battery state can be
checked by pressing [Help]. The battery meter will
illuminate to indicate the charge level.

Empty 50% Half 100% Full

6 The OP-1 Field Notebook : Reference & Guide

 Overview 1
NOTES 1.4 Powering Up
The switch on the right side of the OP-1F powers it on or off. To power on
pull the switch up, and to power off push down. When powering up the TE
logo will appear on the power up screen and also the display will show the
current firmware version installed.

Right Edge

On Off
Up / Set towards front panel Down / Set towards bottom

On / Off Switch & LED

Startup Page

1.4.2

Firmware version is displayed when the

startup page is displayed. This will be on
display for only a few seconds.

The OP-1 Field Notebook : Reference & Guide 7

1 Overview
1.5 Help NOTES

The help button gives access to several helpful functions. When a synth or
drum engine is selected, pressing help will display the preset loaded and
show the T1 to T4 button purpose and state. Also a a quick start user guide
is accessible when using shift and help. The battery charge state is also
shown on the right side led bar anytime the help button is held.

Hold [Help]

Help will display a help screen page Press Help while holding a keyboard
associated with the mode selected. Also key to check the note. This will display
hold [Help] + another button for further the note played i.e. C, C#, D etc
help information.

General functions will show the The battery charge state is also
current mode and the function TAPE displayed on the LED bar on the
served by the ‘T’ buttons. right when holding [Help]

2 3 4

Synth / Drum Engines will The FX and LFO slots will show
display the currently selected tagged if the effect is active.
preset slot number, preset 2 PADDY
*
name and the asterisk, if LFO LFO
shown, indicates the preset has
been edited but not saved. FX LFO OFF ON

Press [Shift] + [Help]

USER GUIDE

PREV PG DN PG UP NEXT

Quick start user guide navigate the pages by pressing

the T1 - T4 Buttons or by turning the (Orange) knob.

8 The OP-1 Field Notebook : Reference & Guide

 Overview 1
NOTES 1.6 Architecture
Th architecture and routing of the OP-1F can be quite complex considering
the sound engines, tape and sequencers plus the effects. A live animated
routing diagram is available by pressing [Shift] + [Mixer].

Audio Path
Sequencer Keyboard Internal Mic Line In

USB MIDI & Audio

USB
Sound Engines Audio
Sampling
Envelope

LFO Internal
Various FX
FM Radio Audio
Destinations

Style Tape
Studio Track 1 Track 2 Track 3 Track 4
Vintage
Tape Store
Porta 1 2 3 4
Disc 5 6 7 8

Mixer
Track 1 Track 2 Track 3 Track 4

EQ Bus

FX Bus

Drive

Master Out
Volume Level

Stereo Audio Out

The OP-1 Field Notebook : Reference & Guide 9

 NOTES

10 The OP-1 Field Notebook : Reference & Guide

 2
Tape
The OP-1F is a digital instrument which sound design with many of its features inspiring
features a number of emulations of classic 4 processes such as resampling and looping and
track tape decks. Tape is central to the OP-1F can also offer more creativity options by using its
functionality and allows recording from various playback tape tricks. The normal recording
sources to the four available tracks. The mode also overdubs over existing material if a
general workflow is to build layers of sounds previous recording exists rather than erasing
using the tape to capture and edit audio. The and re-recording. This is great for layering up
OP-1F tape graphics have become iconic and and creating unique sound snapshots. Backing
offer innovative design and style in retaining up tape or moving sections can protect any
the classic cutting and splicing operations as previously recorded material if needed. Tape can
performed with traditional analogue tape be used to experiment, layer, shape and design
editing. The OP-1 feature set has continually sounds that can be transferred to the other OP-
developed and become even more advanced 1F engines such as drum or the sampler. Lift and
in the OP-1F model. There are 4 tracks each drop functionality are important and useful tools
with a maximum of 6 minutes recording time at to manage and execute various features
the default speed setting per track. Audio including the ability to lift all tracks and then
format of recordings is 44.1kHz at 32 bits. merge drop to one audio track.
Tape has 4 optional emulation types and up to
8 tapes can be stored in memory. Whilst the
tape is great for capturing snapshots of sounds
and recordings it should be noted that it is also
an integral part of the OP-1F creativity and

The OP-1 Field Notebook : Reference & Guide 11

2 Tape
2.1 Overview of the Tape Display NOTES

Tape mode is selected by pressing the dedicated [Tape] button, indicated

by the tape symbol. Configuration options accessed with [Shift] + [Tape].

Tape Track Tape Time Code & Recording level meter

[T1] - [T4] Scrub position and adjustment

Sound engine selected 1 0:03:12 Tape Speed

for recording. Shows Setting
when a key is pressed

100%

Start or Loop In symbol, Track Recordings &

if loop mode is on. Beat Markers

Recording Present / Deselected Track Grey

Recording Present / Selected Track / Not Playing Blue

Recording Present / Selected Track / Currently Playing Orange

Start / Loop In (empty circle) & Out (filled circle) Markers Ochre

1 0:03:12 1 0:03:12

100% 100%

The Tape Mode display will represent the playback / stopped mode with
white / grey display animations. When recording, the record symbol is shown
and the reels and tape will be animated in red. Image will represent the
active Tape Mode.

12 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES 2.2 Tape Operation Controls
The control knobs can adjust various parameters directly. Turn a knob to
adjust or hold Shift + Turn Knob to adjust the secondary option. The [T1] to
[T4] buttons represent the tape tracks 1-4. Loop On/Off with button [3].

Tape Control Knobs

Blue Ochre Grey Orange

Scrub Loop Out Point Tape Speed Level

Scrubs the tape Sets the loop end Incrementally changes Recording level
position forward or position. The track the tape speed at adjustment. Level
backward from a display will zoom to standstill, playback meter is also
standstill position. show the entire loop. and during recording displayed.

Shift + Blue Shift + Ochre Shift + Grey Shift + Orange

Slide Loop In Point Tape Speed % Recording Pan

Moves a take. Slides Sets the loop start As above but changes Recording Left & Right
the active region position. The track the tape speed in fixed panning.
under the playhead to display will zoom to increments of 25%,
a new free position. show the entire loop. 50%, 100%, 200%.

Tape Control Button Combo’s

Function Buttons Description

Play [Play] Plays tape forwards (1)

Play in Reverse [Shift] + [Play] Plays tape backwards (2)

Stops playback or recording (1)

Stop [Stop] Double press to reset playhead to start.

Record [Rec] + [Play] Starts recording immediately (2)

Arms recording in standby. Recording starts

Arm Recording [Shift] + [Rec] when [Play] is pressed (2)
When playback is stopped, Hold the left
Rewind Tape [Left] arrow to rewind the tape.(1)
When playback is stopped, Hold the right
Fast Forward Tape [Right] arrow to fast forward the tape.(1)

Jump Left [Shift] + [Left] Jump playhead earlier to prior beat marker.

Jump Right [Shift] + [Right] Jump playhead later to next beat marker.

Beat Marker Resolution [Shift] + [Stop] Adjusts tape grid beat marker resolution.

1. Features that can be used without Tape Mode being active. These functions operate
generically in the OP-1F in or out of Tape Mode while others will need Tape Mode to
be active to operate.

2. If not in Tape Mode activating these commands will automatically switch to tape mode.

The OP-1 Field Notebook : Reference & Guide 13

2 Tape
2.3 Recording & Playing in Tape Mode NOTES

Tape mode allows the playback and recording of the 4 tape tracks. Editing
can also be performed in Tape Mode.

▌SELECTING TAPE MODE

1. Press [Tape]. The Screen will display the main tape mode page.

▌PLAYING / STOPPING THE TAPE

1. Press [Play] to play the tape tracks in the normal forwards direction.
Playback will commence as soon as the button is pressed and will start
from the current start or paused playhead position.

2. Hold [Shift] + Press [Play] to play the tracks in the reverse direction.
Playback will commence or change direction as soon as the buttons
are pressed. This will play from the current start or paused position.

3. Press [Stop] to stop playing or recording and pause at the current

position. Pressing [Stop] again will reset the playhead to the start point.

Shift

The tape control functions are located in the bottom left side of the OP-1F.
Some of these buttons are multifunctional but control of playback and recording
are always active. Editing is performed when in tape mode.

14 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES

▌BASIC RECORDING OF A SOUND ENGINE TO TAPE

1. Select the option e.g. [Synth] or [Drum] to record.

2. Select tape mode, Press [Tape].

3. Select a track for recording. Press a [T1], [T2], [T3] or [T4] button below
the display. These buttons represent tape tracks 1-4 respectively.

4. Adjust recording level if required, Turn (Orange).

5. Position the tape to desired position. Press [Stop], [Stop] to set the
playhead to the start or Turn (Blue) to set the playhead position.
Jumping to beat markers or creating a loop is also useful.

6. Press record [Rec] + [Play] to start recording. The tape reels will be
shown red and the record symbol displayed. Recording will start
immediately these buttons are pressed.

7. As an alternative synchronised start, Hold [Rec] + [Note] key.

Recording will start in time with the first note played. This works best
when the timing of a recording start point is critical.

8. Play / Trigger the synth or drum notes to record.

9. Press [Stop] to stop recording when complete.

10. Note that the audio sample from a synth or drum sampler can also be
copied from the sampler engine and pasted into a selected location of
tape using the [Lift] and [Drop] functions.

▌ARMING RECORD STANDBY MODE

1. In Tape Mode with playback stopped, Press [Shift] + [Rec]. The tape
will be put into record arm mode.

2. The tape reels will be lit red while stopped but recording will only start
when [Play] is pressed.

The OP-1 Field Notebook : Reference & Guide 15

2 Tape
2.4 Manoeuvring Tape Position NOTES

The tape in OP-1F can be rewound, fast forward and the playhead can
jump to earlier or later tape beat markers. These tape features only operate
when Tape Mode is active. This is done by pressing [Tape].

▌REWINDING / FAST FORWARDING THE TAPE

1. Hold [Left] to rewind the tape. The rewind symbol is shown and the
tape is shuttled backwards. This function operates when the tape is
stopped or when it is playing.

2. Hold [Right] to fast forward the tape. The fast forwards symbol is shown
and the tape is shuttled forwards. This function operates when the tape
is stopped or when it is playing.

▌JUMP PLAYHEAD TO TAPE REEL START OR END

1. Hold [Stop] + Press [Left]. The playhead jumps to the start of tape reel.
This function operates when the tape is stopped or when it is playing.

2. Hold [Stop] + Press [Right]. The playhead jumps to the end of the tape
reel. This function operates when the tape is stopped or when playing.

▌JUMPING THE PLAYHEAD TO BEAT MARKERS

1. Hold [Shift] + Press [Left]. The playhead jumps to the prior beat marker.
This function operates when the tape is stopped or when it is playing.

2. Hold [Shift] + Press [Right]. The playhead jumps to the next beat
marker. This function operates when the tape is stopped or when it is
playing.

▌CHANGING BEAT MARKER RESOLUTION

1. Hold [Shift] + Press [Stop]. Beat marker resolution is adjusted as seen

on the tape display.

16 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES 2.5 Tape Loop
The tape can be played on loop. This will play from a Loop ‘In’ position until
reaching a Loop ‘Out’ marker and then restart, looping back to the ‘In’
position. The looped section will play in a continuous cycle. Looped
sections can also be cut / erased using ‘Lift’ and pasted with ‘Drop’.

Move playhead to set in/out point positions

3
(Blue) [Loop]
Scrub Tape Position Loop On or Off.

T1
T2
T3
T4

I 2
IN OUT

[In] [Out]
Loop IN Point. Loop OUT Point.

(Ochre)
Turn to finely adjust the Loop Out (Ochre)
and Loop In [Shift] + (Ochre)

Once a loop has been set and is active, any playback or recording will operate
within the loop markers. It is good practice to use beat markers as a guide when
setting loop positions to align to specific bar intervals.

The OP-1 Field Notebook : Reference & Guide 17

2 Tape
NOTES

▌SETTING UP A LOOP IN / START MARKER

1. The Loop In point also acts as a start point, even when a loop is
inactive. When the tape is already stopped, pressing [Stop] will move
the playhead to this start point position. This start point is indicated by
the open, ochre coloured circle on the tape display.

2. Adjust the playhead position to the point from which to assign the loop
in / start position. The playhead is the reference.

• Press [Left] or [Right] to move the tape Rewind / Fast Forward.

• Hold [Shift] + [Left] or [Right] to jump to beat markers.

• Turn (Blue) to finely adjust and scrub tape marker.

• Press (Play) to capture the marker in point while playing.

3. Press [1] IN button at the point to set the tape / loop starting point. A
Small empty, ochre circle is shown to indicate this position.

▌SETTING A LOOP RANGE

1. The Loop In and Out points set a loop range. This is indicated using an
open, ochre coloured circle on the tape display for IN and solid filled
circle for OUT.

2. Assign a loop in / start point as described above using [1] IN button.

3. Assign a loop out point by adjusting the playhead to a desired target

position, then pressing the [2] OUT button. The solid ochre coloured
circle will show the loop end point.

4. To turn the loop on or off, Press [3] Loop button. This will cycle the loop
range to be active, shown with an ochre line joining up the In/Out points
and loop symbol is displayed on the tape page. When the loop is
inactive the end point and adjoining line is shown greyed out.

5. Pressing play or recording will operate within an active loop.

If a loop in and out marker is set to the same point, a loop will not play. There
must be some tape between the two markers in order to set the loop on. Be
careful not to set markers so close that the tape playback appears to be stopped.
This may be an interesting creative option to add a jitter over a small region

18 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES 2.6 Tape Type
The OP-1F has 4 Tape model emulations from studio and vintage reel to
reel, classic cassette to digital disk players, each giving a distinct character
to the recorded audio. The signature character of the real world hardware
is described below.

Studio 4-Track

The classic professional reel-to-reel. Inspired by the

classic studio tape decks originally released by
companies such as Teac and Tascam. Offers high
quality audio through its use of 2 Inch tape and 15
inches per second speed.
1 2 3 4

Vintage 4-Track

The vintage professional reel-to-reel. Lower quality

audio than the studio model using tape speed of 7 1/2
inches per second often used in home recording and
with more saturation and a boosted low end. Some wow
and flutter distortion is possible.
1 2 3 4

Porta 4-Track

The portable studio became popular in the early 80’s

giving access to home users. Compact cassette based
with a slower tape speed i.e. 3 ¾ ips , convenience and
1 2 3 4 portability were the advantages.

Disc Mini 4-Track

46.02

The early 90’s saw the advent of a digital based

recording format with Sony’s MiniDisk competing with
Phillips Digital Compact Cassette. The magneto-optical
format allowed more data to be compressed and hence
higher storage capacity. The audio produced is more
MD sterile with less warmth than tape.

The OP-1 Field Notebook : Reference & Guide 19

2 Tape
NOTES

▌BROWSING TAPE TYPES

1. Hold [Shift] + Press [Tape].

2. The Tape Browser will be presented and the current tape type model
will be displayed.

3. Turn (Blue) Knob to scroll through the available Tape Types. The
currently active model is named in the header and in the device model
illustration. The available tape reels are also shown on the right.

4. The main tape screen will be represented by an image that matches

the selected Tape Mode.

Studio 4-Track [Tape] [Shift] + [Tape]

1 0:03:12 STUDIO 4-TRACK REELS

979-023#0
TAPE 0
DUR

Tape Browser
MIN 2023- 0#0
6
2023- 0#02
Tape Page

TYPE

100% 4-TRACK
STUDIO
1 2 3 4

NAME LOAD NEW DELETE

Vintage 4-Track

1 0:03:12 VINTAGE 4-TRACK REELS

DUR
Tape Browser

MIN
6
Tape Page

TYPE

1:1 4-TRACK
VINTAGE
1 2 3 4

NAME LOAD NEW DELETE

Porta 4-Track
1 0:03:12 1:1 PORTA 4-TRACK TAPES

4 979-023#0
DUR
Tape Browser

6 MIN 2023- 0#0

Tape Page

TYPE
4-TRACK
1 2 3 4 CHROME

NAME LOAD NEW DELETE

Disc Mini 4-Track

1 0:03:12 1:1 DISK MINI DISKS

x xxx
2023- 0#0
DUR
74
Tape Browser

46.02
6 MIN 2023- 0#02
Tape Page

TYPE
4-TRACK
MD DIGITAL

NAME LOAD NEW DELETE

20 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES 2.7 Tape Reels
The OP-1F can store a total of 8 tape reels in memory. Reels, also called
Tapes and Disks depending on the mode, can be created, loaded and
deleted. These functions are performed in the Tape Browser, a sub-menu
of Tape Mode. The Tape Browser is selected using [Shift] + [Tape]. Reels
are associated with the Tape Type model and can record up to 6 Minutes
covering 4 tracks at 32-bit resolution.

▌CREATING A NEW TAPE REEL

1. Hold [Shift] + Press [Tape]. The Tape Browser window will open.

2. Tape reels can be created for each tape type but a maximum of 8 tapes
can be stored in total across all types. The ‘New’ command will be
greyed out and some commands are ignored if all reel slots are full.

3. Press [T3] to select ‘New’.

4. A new reel based on the selected tape type will be prepared and stored
alongside the type model. These are visible in the tape browser. The
display will revert to Tape Mode. The reel is automatically named based
on current year / day and sequential number.

[Shift] + [Tape] Available Disks

DISK MINI DISKS

2023- 0#0
DUR
46.02
6 MIN 2023- 0#02
TYPE
4-TRACK
MD DIGITAL

NAME LOAD NEW DELETE

I 2 3 4
[T3]
Create a New Tape

The terminology differs between the Tape Types. The Studio and Vintage
models refer to Reels while the Porta refers to Tapes and Disk Mini to Disks.
While the audio character is different, the functionality and processes applied
are the same for all. These terms can be used interchangeably in the
descriptions and instructions.

The OP-1 Field Notebook : Reference & Guide 21

2 Tape
NOTES

▌DELETING A TAPE REEL

1. Hold [Shift] + Press [Tape]. The Tape Browser window will open.

2. Browse to select a tape. Use (Blue) knob to browse Tape Types and
(Ochre) knob to browse through to highlight a reel, tape or disk. The
highlighted reel is indicated in white text.

3. Press [T4] to select ‘Delete’.

4. A prompt to ‘Delete Reel / Tape / Disk’ is presented.

5. Press [T1] + [T2] + [T3] + [T4] simultaneously to confirm and execute

deletion of the selected tape / reel / disk. The screen prompt will
illustrate the T Buttons, when pressed. These will be lit red.

6. Deletion will be confirmed

DELETE DISK?
PRESS ALL TRACK KEYS -4
TO DELETE DELETED
979-023#0
2 3 4

▌LOADING A TAPE REEL TO THE CURRENT MACHINE

1. Hold [Shift] + Press [Tape]. The Tape Browser window will open.

2. Browse to select a tape. Use (Blue) knob to browse Tape Types and
(Ochre) knob to browse through to highlight a reel, tape or disk. The
highlighted reel is indicated in white text.

3. Press [T2] to select ‘Load’. If the currently loaded tape is highlighted the
load option will be greyed out as unavailable.

4. The tape is immediately loaded into the current project. The current
tape mode will be presented on the display.

22 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES

▌RENAMING A TAPE REEL

1. Hold [Shift] + Press [Tape]. The Tape Browser window will open.

2. Browse to select a tape. Original names are assigned based on the

year, day from the OP-1F current date setting plus a sequential
number. Use (Blue) knob to browse Tape Types and (Ochre) knob to
browse through to highlight a reel, tape or disk. The highlighted reel is
indicated in white text.

3. Press [T1] to select ‘Name’.

4. The edit cursor will appear on the first character of the name.

• To move the cursor character edit position, Turn (Blue) or press the
[Left] or [Right] buttons.

• To change the highlighted character, Turn (Ochre).

5. Once editing is complete, Press [T1] for ‘OK’. This will save the new
name for the reel. The option to cancel without saving is also available,
Press [T3] to Cancel.

A name is automatically assigned when created

Current Year Sequence Number

2023- 3#0 2023 - 23rd April Number 01

Current Day of the Year

(Blue)
Move Cursor

2023-TUNE2 NAME [T1] to Rename

AB C D E F G H I J
KLMNOPQRS
(Ochre) TUVWXYZ#-
Change Character 0123456789

The OP-1 Field Notebook : Reference & Guide 23

2 Tape
2.8 Tape Editing NOTES

Just like real tape, the OP-1F offers the opportunity to edit its virtual tape
tracks. Tape can be cut, spliced, deleted and moved within the tape reel
spool across all 4 tracks. The tape playhead acts as a reference when
editing tape. A take is defined as a recorded region of a tape.

Cutting & Pasting Takes

41 0:03:12

100%

Move playhead over the lift target region & selected track.

T1
T2
T3
T4

[Lift] [Shift] + [Lift]

Lifts the currently active take Lifts all currently active track takes,
located under the playhead. trimmed within the active loop.
Erases or Cuts the Region Erases or Cuts the Regions

Move playhead to drop location start & selected destination track

T1
T2
T3
T4

Once dropped the playhead resets

to the end of the dropped take
[Drop] [Shift] + [Drop]
Drops the lifted take(s) starting Merges and drops all lifted audio
at the current playhead position into one single audio track.
Pastes the Region(s) Merge Drop a Single Track

Editing tape uses the playhead as it’s lift, drop and splice point marker. It is useful to
use the tape beat markers as a guide. Remember that [Shift] + [Left] or [Right] can
jump the playhead to beat marker positions and beat markers can be adjusted with
[Shift] + [Stop]. Normal tape playhead adjustment can be made with [Left], [Right] or
by turning the (Blue) knob to scrub tape at precise points.

24 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES

▌MOVING A TAKE

1. A take is a recorded region of a tape. These can be edited and moved

using the ‘Lift’ & ‘Drop’ functions.

2. Select the track with the target take using [T1] to [T4].

3. Manoeuvre the playhead position to a point over the take to lift / cut.
The playhead is the reference. The target take will be shown in red.

4. Press [Lift]. The take will be ‘lifted’ from the tape to the clipboard.
Essentially the take is cut and erased from the original track position.

5. If another track is the destination, select the track using [T1] to [T4].

6. Manoeuvre the playhead position to the destination start point on the

tape track. The playhead is the reference.

7. Press [Drop]. The take will be ‘dropped’ from the clipboard and pasted
into the new destination. Essentially the take is erased from the original
track position, although it can be pasted / dropped back in if a copy/
paste style rather than cut/paste process is required. Multiple drops are
possible from the most recently lifted take in the clipboard.

▌LIFT & MERGE DROP ALL TAKES WITHIN A LOOP RANGE

1. Set a loop. The start / in and end / out points covering the region to lift.
Set the playhead over this loop region.

2. Hold [Shift] + [Lift]. All takes from all tracks within the loop range are
trimmed and lifted to the clipboard.

3. Locate the playhead to a drop location.

4. Press [Drop] to drop all the lifted audio regions to the new location on
the respective tracks.

5. Hold [Shift] + [Drop] to merge all lifted audio and ‘bounce’ to a single
audio file. This is then dropped into the current track at the selected
location. This is based on the output audio i.e. includes the mixer
settings.

The OP-1 Field Notebook : Reference & Guide 25

2 Tape
NOTES

Tape can also be trimmed and sliced using the OP-1F [Split] function.
Takes can also be spliced together. The lift and drop editing functions
assisting with the moving of tape takes.

Splitting & Splicing Takes

41 0:03:12

100%

Move playhead over the split target region & selected track.

T1
T2
T3
T4

[Split]
Splits the take at the playhead position.
Divides the Region

Move playhead over the intermediate gap between takes.

T1
T2
T3
T4

[Shift] + [Split]
Joins the nearest track take to the active take at the playhead position.
Merges the Regions

Splitting and Splicing tape can be a precise process using the playhead as the
reference. Try using the loop function to help zoom in and out of specific areas.
Remember that [Shift] + [Left] or [Right] can jump the playhead to beat marker positions.
Normal tape playhead adjustment can be made with [Left], [Right] or by turning the
(Blue) knob. Also consider using the shift + lift and drop functions within a loop. These
trim the takes to the loop boundaries.

26 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES

▌DELETING A TAKE

1. A take is a recorded region of a tape. These can be cut and deleted

using the ‘Lift’ function.

2. Select the track with the target take to delete using [T1] to [T4].

3. Manoeuvre the playhead position to a point over the take to erase. The
playhead is the reference. The target take will be shown in red.

4. Press [Lift]. The take will be ‘lifted’ from the reel to the clipboard.
Essentially the take is erased from the original track position.

▌SPLITTING A TAKE

1. Select the track with the target take to split using [T1] to [T4].

2. Manoeuvre the playhead position to a point over the take to split. The
playhead is the reference point to split the take. The target take will be
shown in red.

3. Press [Split]. The take will be divided into two separate takes at the
playhead point. The early take is rendered inactive and shown blue and
the later take will be the active one in red.

▌SPLICING TAKES TOGETHER

1. Select the track with the target takes to join up using [T1] to [T4].

2. Use the lift and drop command to manoeuvre the position of the takes
to edit. Align the takes to be merged within a short space of each other.
If the distance is too large then the splicing will not occur.

3. Manoeuvre the playhead position to a point over a take to merge. This

will be shown red. Ensure the playhead is over the nearest edge of the
red region to that of the blue take to splice with. An intermediate
position is also ok as long as the takes are close together.

4. Press [Shift] + [Split]. The red take will be merged together with the
other nearest blue take from the playhead point. The two takes and
playhead will need to be within a fairly close proximity of each other for
splicing to work. The takes are merged and will be shown as a single
region, coloured red.

The OP-1 Field Notebook : Reference & Guide 27

2 Tape
2.9 Tape Tricks NOTES

A number of tricks can be performed within the tape function using the
buttons [1] - [8]. These are ideal to add interest and variation during live
performances and creative ad lib session. The Loop elements with buttons
[1] - [3] have already been covered. This section will explain the tape
brake, reverse and chop effects as well as an introduction to the two
memory functions. These functions operate in the Tape / Mixer pages and
all 8 buttons revert to preset selection when in the Drum or Synth functions.
.

Loop In Loop Out Loop Brake Reverse Chop Memo 1 Memo 2

I 2 3 4 5 6 7 8
IN OUT

Tape Trick Buttons

Function Button Description

Loop In [1] Sets the loop in point and playback start point

Loop Out [2] Sets the loop region end point

Toggles Loop on or off. Loop symbol is

Loop On/Off [3] displayed when set to on.

Brake [4] Tape brake. A tape slowdown/stop effect. (1)

Reverse [5] Reverses the tape playback. (1)

Tempo lock repeat which scrubs playback

Chop [6] over the current location. (1)
Memorize and restore a snapshot of
Memory 1 [7] parameter values into memo slot 1. (2)
Memorize and restore a snapshot of
Memory 2 [8] parameter values into memo slot 2. (2)

1. These effects are applied only when the button is held and are cleared
when the button is released, returning to normal playback. Multiple
effects can be applied simultaneously.

2. These memo storage slots are applied only when the button is held and
a parameter is adjusted. Recalling the stored parameter values is only
applied while holding a Memo button M1 or M2.

28 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES

▌USING BRAKE TO CREATE A SLOWDOWN / TAPE STOP EFFECT

1. Ensure Tape or Mixer mode is selected and the tape is playing.

2. Hold [4], Brake Button. The playing tape will slow down and then stop.

3. The tape time clock will continue its progress in the background to
ensure that once the break key [4] is released, the tape will continue
playback from this ‘background’ real time position.

▌REVERSING ON THE FLY PLAYBACK

1. Ensure Tape or Mixer mode is selected and the tape is playing.

2. Hold [5], Reverse Button. The playing tape will immediately reverse the
playback and continue in reverse while the button is held.

3. Release [5] to restore playback to the normal forward direction.

▌USING CHOP TO STUTTER / REPEAT PLAYBACK

1. Ensure Tape or Mixer mode is selected and the tape is playing.

2. Hold [6], Chop Button. The playing tape will immediately scrub
playback, synchronised to the tempo, at the current playhead location.

3. Release [5] to restore playback in the selected direction.

The OP-1 Field Notebook : Reference & Guide 29

 2 Tape
NOTES

Using the Memo Keys

The M1 and M2 Memo buttons store parameter values that can then be
temporarily recalled for the duration of the memo button hold. This is a
great on-the-fly feature to add variation and punch in creativity. The recall
operates only in the active Tape / Mixer page.

▌USING A MEMO SLOT TO CAPTURE PARAMETER VALUES

1. Identify the parameter element to change and open its page. These are
typically mixer page values, for example; Mixer > EQ Page [T2], ‘Low’
value setting. This will only capture the current page values and
changing values in another page will overwrite the parameter values.

2. Hold [7] or [8] + Adjust Parameter. For example hold a memo button [7]
for M1 or [8] for M2 then adjust the (Blue) Knob for EQ Low.

3. Release the memo button. The parameter value is stored in the memo
key location M1 or M2 selected.

▌RECALLING AND APPLYING A MEMO STORED VALUES

1. Ensure the Tape or Mixer page or subpage is active. Hold Memo M1,
[7] or M2, [8].

2. The stored values will be recalled for the duration that the button is
held. The original values return once the button is released.

Example with Memo M1

Memorize Parameters Temporary Recall Values

Hold [7] M1 Hold [7] M1
+ Adjust Parameters. Then release to reset
MAX EQ
100HZ 1 KHZ 10 KHZ

Press to recall or
release to reset to
original values
LOW MID HIGH CLEAN

4 5 6 7 8 I 2 3 4 2
MEMO 5 6 7 8
IN OUT

MEMO

30 The OP-1 Field Notebook : Reference & Guide

 Tape 2
NOTES 2.10 Tape and Synth / Drum Samples
The samples contained in a drum or synth sampler engine can be lifted /
copied and dropped / pasted into a tape track. Also a take from tape can
be lifted and dropped into the synth or drum sampler.

▌COPYING DRUM / SYNTH SAMPLE TO TAPE

1. In synth or drum sampler engine and with a sample loaded or a

recording present, Press [Lift].

2. Press [Tape] to select tape mode.

3. Navigate to a desired track and to an empty area of tape.

4. Press [Drop] to store the copied engine sample.

▌COPYING FROM TAPE TO DRUM / SYNTH SAMPLER

1. Press [Tape] to select tape mode.

2. Navigate to a desired track and to a take on the tape to copy.

3. Press [Lift] to copy the sample take.

4. Return to the drum or synth sampler engine.

5. Press [Drop] to paste in the copied audio take from tape.

The OP-1 Field Notebook : Reference & Guide 31

 NOTES

32 The OP-1 Field Notebook : Reference & Guide

 3
Drum
The OP-1F has two onboard drum engines. creative options and tweaking and tuning the
The first is Drum, a sample based engine, parameters can create electronic and lo-fi drum
designed for short percussive sounds. Drum sound emulations or create weird and wonderful
operates using a single sample containing sonic textures. Coupled with the OP-1F’s
multiple percussion elements. Sections of the sequencers, effects and other mixing options
continuous 20 second sample are divided and can unlock a world of creative sound design and
mapped to each key to create singular hits per inspiration for less traditional musical
key. The second instrument engine is called exploration. The Drum and percussion features
Dbox, an 8 parameter drum synthesizer which and engines fuel the ongoing debate of whether
is a partner to the equivalent synthesizer the OP-1F is a synth, sampler, drum machine or
engine called DSynth. Drum is selected by the sequencer. We all know of course it’s all of these
[Drum] function and by also using [Shift] + [T1] and in its own way it’s a jack of all trades and a
to select between the two engines. Each master of many. This notebook not only covers
engine especially accompanied by the step by step instructions and visual guides but
envelope, generic effects and modulation can also includes tips and starting point templates. In
open up a wide range of creative possibilities. line with the overall theme of this book there are
For example classic sounds such as kick, sections for your own notes and comments
snare and hi-hat can be mapped to the offering the opportunity to make this document
recommended keyboard layout, while non personal and help to capture your masterpiece
percussive samples can also be used and creations.
sequenced giving even more sound design
options. Dbox also introduces a wealth of

The OP-1 Field Notebook : Reference & Guide 33

3 Drum
3.1 Drum Mode Introduction NOTES

Drum mode gives access to the two percussive engines, Dbox and Drum.
Dbox is a 2 oscillator drum synthesizer while Drum is a percussion based
stereo sample player. Drum mode is accessed by pressing [Drum]. As well
as the engine itself, a drum envelope is also provided. The generic effects
and modulation can also be applied. The Track buttons T1-T4 select
between the engine, envelope, effects and LFO options.

[Drum]
Select Drum Mode

Drum Engine. Example - DBox

XFADE OSC ENV MODE 4 FILTER [Shift] + [T1]

50 LONG DECAY
3 5 Drum Engine Selection
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

LONG DECAY 0 7

SHORT ATTACK

[T1]
Drum Main Page I 2 3 4

[T2] Drum Envelope.

[T3] Effect
FREQ FEEDBACK

46
DELAY SIDEBAND

40 Optional

[T4] LFO

FILTER

30
SOURCE AMOUNT DEST PARAMETER

Optional

34 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

▌SELECTING DRUM MODE

1. Press [Drum]. Drum mode is selected, the initial page will show the
drum engine parameters and settings for the selected engine.

▌PLAYING A DRUM BEAT

1. Ensure Drum Mode is active.

2. Press any Keyboard [Note] Key. The drum ‘hit’ assigned to the note will
play. This may be a DBox setting or Drum Sample slice per note
depending on the active drum engine.

3. The note will play on each press. If the sequencer is active, the
sequenced pattern may start playing when a note is held.

▌IDENTIFYING A TRIGGERED NOTE

1. Press a chosen keyboard key. The note will be triggered.

2. Hold [Help], then press a [Note].

3. The note value triggered i.e. C, D, E will be displayed as it is triggered.

[Help] + [Note]
C Displays the triggered note value

▌SELECTING A DRUM ENGINE

1. Ensure Drum Mode is active.

2. Press [Shift] + [T1]. The Engine browser page will open.

3. Turn (Blue) to select between the Dbox and Drum engine. The
highlighted option in white text is the active engine.

4. It is important to note that this method only selects the drum engine
and does not change any preset settings. Presets capture all engine,
envelope and any applied effects or LFO settings held in pages T1-T4.
This process only selects the engine.

The OP-1 Field Notebook : Reference & Guide 35

3 Drum
3.2 Drum Presets NOTES

All of the OP-1F Synth and Drum engines use presets as a means of
storing the settings. The process here applies to both drum and synth
mode. Buttons [1] - [8] operate as quick sound selection buttons, each of
which stores a drum kit preset. A full preset library is also available for each
engine and these are the source for assigning to the sound selection
buttons. The preset library is found in the engine / preset browser.

1 [Drum]
Select Drum Mode

Drum Engine & Preset Browser

DBOX AEROPLANE 3
7 DRUM APES ARE US
CHERRY [Shift] + [1] - [8]
CLASSIX
EXOEX Open Preset Browser
GRITS
HARD SPUNCH
LUBOWA
MICROSCOPIC

Turn (Blue) Turn (Knob)

Select Engine Assign Preset
4 5
LUBOWA

I 2 3 4 5 6 7 8
IN OUT

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

2
[Shift] + [Drum] Press [1] - [8]
Reset preset to original settings Select Preset Sound Slot

Anatomy of a Drum Preset

A Drum preset consists of the engine and envelope settings plus an active effect and any
applied modulation option settings. Drum presets hold the drum kits where each ‘hit’ with its
unique settings is subsequently triggered by the keyboard

[T1] [T2] [T3]

Drum Drum
Effect
Engine Envelope

Drum Mode Specific Generic Options

LFO

[T4]

36 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

▌SELECTING A DRUM MODE PRESET

1. Ensure drum mode is active.

2. Press [1] - [8] sound selection button to select a stored preset. Each of
the sound selection buttons carry a stored preset.

3. The preset, containing the settings for the engine, envelope and any
applied effect or LFO settings will immediately be selected as active.

4. To reset an edited drum preset back to its original settings, Press

[Shift] + [Drum].

▌ASSIGNING A PRESET TO A SOUND SELECTION BUTTON

1. Ensure drum mode is active.

2. Hold [Shift] + [1] - [8] sound selection button.

3. The browser will open in order to choose a drum preset to assign to

the button number 1-8 selected. The quick sound selection button
number selected is displayed top left on the browser page.

4. Turn (Blue) knob to select a drum engine. Either Dbox or Drum are
available each with its own preset library.

5. Turn (Ochre) or any other knob except (Blue) to select a drum preset.
The preset, containing the settings for the engine, envelope and any
applied effect or LFO settings will be assigned to the quick sound
selection button chosen in step 2 above.

6. Press [Drum] or [T1] when complete to exit the browser.

▌CHECKING THE CURRENTLY LOADED PRESET

1. Ensure Drum Mode is selected.

2. Hold [Help].

[Help]
3 WORKSHOP Displays the currently loaded preset sound selection
number & name

Ochre indicates a drum engine, Blue is a synth engine preset.

An * Asterisk indicates an edited preset, thats different from the saved original

The OP-1 Field Notebook : Reference & Guide 37

3 Drum
NOTES

▌SAVING A PRESET

1. After editing any of the engine, envelope, effect or LFO parameter

values the preset can be saved.

2. Hold any of the [1] - [8] sound selection button for 5 Seconds. The
save timer will display showing the quick sound button number.

3. The sound is saved in the ‘SNAPSHOT’ folder which can be located in

the drum preset browser list. Press [Shift] + [1] to [8] to access.

2 SAVING

▌DELETING A USER PRESET

1. Any user saved presets contained in the ‘SNAPSHOT’ folder in the

preset browser can be manually deleted. Original factory presets for
each engine cannot be deleted.

2. Press [Shift] + [1] - [8] to open the preset browser.

3. Turn (Blue) to navigate to the ‘SNAPSHOT’ folder. This folder will only
be present if a preset has been previously saved.

4. Turn (Ochre) or any knob except (Blue) to navigate to the preset.

5. With the target preset highlighted, text white, Press [T4] to Delete.

6. The option to Cancel using [T3] is presented or Press [T4] to confirm

OK to delete.

7. The preset will be deleted.

A Snapshot folder is created when saving

DBOX 2023- 2 #0
DRUM 2023- 2 #02
user presets. The presets can be deleted
SNAPSHOT or renamed from within the Snapshot
folder. Original factory presents cannot
be edited in the browser.

NAME DEL

The saved presets have a default naming convention, unless renamed. This is based on
the day / year that the preset is saved and the OP-1F date / time setting.

YEAR - DAY OF YEAR # SEQUENCE NUMBER e.g. 2023 - 121 = 1st May, Number 01

38 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

▌RENAMING A USER PRESET

1. Any user saved presets contained in the ‘SNAPSHOT’ folder in the

preset browser can be manually renamed. Original factory presets for
each engine cannot be renamed.

2. Press [Shift] + [1] - [8] to open the preset browser.

3. Turn (Blue) to navigate to the ‘SNAPSHOT’ folder. This folder will only
be present if a preset has been previously saved.

4. Turn (Ochre) or any knob except (Blue) to navigate to the saved preset
to rename. The user snapshots by default are saved with an assigned
name associated with the current year, day of the year when saved
along with a sequential number.

5. With the target preset highlighted, text white, Press [T1] to Rename.

6. The edit cursor will appear on the first character of the name.

• To move the cursor character edit position, Turn (Blue) or press the
[Left] or [Right] buttons. Also press [T2] to move to the next
character in the string of characters.

• To change the highlighted character, Turn (Ochre).

7. Once editing is complete, Press [T1] - OK. This will save the new name
for the preset. The option to cancel without saving is also available,
Press [T3] to Cancel if required.

(Blue)
Move Cursor

DAWGPATCH NAME [T1] to Rename

AB C D E F G H I J
KLMNOPQRS
(Ochre) TUVWXYZ#-
Change Character 0123456789

The OP-1 Field Notebook : Reference & Guide 39

3 Drum
3.3 Drum Sampler Engine Overview NOTES

The Stereo Drum Sampler engine operates using a single sample, typically
with multiple drum hits. The sample is then ‘sliced’ and mapped across the
keyboard notes to represent a drum kit. Each drum hit is represented by a
note key on the keyboard. The main drum page is selected using [T1].

[Drum]
Select Drum Mode

[T1]
I 2 3 4
Drum Engine Sample Page

Note Tuning (1) Sample Map Play Mode

F2
L Sample
Left

Sample
Right

In Point (1) Out Point (1)

1. Tap the encoder to zoom in / out on the waveform selection

points or to select a higher resolution setting for fine tuning

Hold [Shift]
Additional Parameters

Direction Pan (2) Attack Gain

F2 L R ATTACK 0 +0
L

2. Tap the encoder to switch between the default stereo panning

mode or to stack the left and right in mono.
R

40 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

Anatomy of a Drum Engine Sample

The Drum sampler uses a continuous sample where sections of this

sample are divided and mapped to each key to enable singular drum hits
per key. Various drum hits such as a kick, snare, hi hat, cowbell, etc are all
contained within this single sample. Maximum recording time to the drum
sampler is 20 seconds.

20 Second Continuous Stereo Sample

Smpl 10
Snare 1

Snare 2

Smpl 8

HH Op
Tambo
Kick 1

Kick 2

Clap
Rim

Drum ‘Hits’ i.e. kick,

snare, tom etc
recorded into the
single sample

Sample divided and

F F# G G# A A# B C C# D
mapped to key notes

Each ‘hit’ mapped to

the key notes R

F# G# A# C#
Example: Note ‘B’
mapped to a
Tambourine
F G A B C D

The OP-1 Field Notebook : Reference & Guide 41

3 Drum
3.4 Drum Sampler Engine Setup NOTES

The drum engine page, accessed via [T1] has a number of setup
parameters which allow mapping of the sample sections to the keyboard
notes. The knobs perform adjustments of parameter values. This process
creates drum kits which can be saved as presets.

[Drum] F2
[T1] for Drum Sample L

I 2 3 4
R

Drum Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Tuning In Point Out Point Play Mode

Adjust the sample Sets the sample In / Sets the sample Out / Play the sample; One-
pitch tuning. Range is Start position. Used to End position. Used to shot fully, gated only
-47 to +48 Semitones. isolate the individual isolate the individual while key is held, until
drum hits. drum hits. group choke or as a
continuous play loop

Tap Blue Tap Ochre Tap Grey Tap Orange

Tuning - Fine Zoom the In Point Zoom the Out Point

Switch to fine tune The sample display The sample display
mode with higher will zoom in or out of will zoom in or out of
0.001 resolution. the in point region the end point region
Range in Cents.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Direction Panning Attack Gain

Select the playback of Adjust the stereo pan Sets a sample attack Adjust the sample gain
the sample direction position left to right or time between default 0 level. Range is -INF, -
as forwards or play adjusts the A-B up to 100. This is the 69 to +24 dB.
backwards i.e. in stacking balance. sample fade in not the
reverse. envelope attack.

Shift + Tap Blue Shift + Tap Ochre Shift + Tap Grey Shift + Tap Orange

Stereo Mode
Switch control
between the L-R
Stereo panning and
the A-B mono stacking
of the left / right side.

Try experimenting with extreme pitch setting and unusual adjustments. This can provide good
inspiration and help develop and capture sound design ideas

42 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

Mapping

A primary process with the Drum Sampler is to load a single sample with
multiple drum hits into the engine and edit the map for each hit across a
range of keyboard keys. More details on sampling is provided later.

▌MAPPING A SAMPLE INTO A DRUM KIT

1. Load a preset to edit and then save to a new snapshot. A typical

sample is stereo format, 32bit and approx 20 seconds in length.

2. Press [Drum] for Drum Mode and Press [T1] for the sampler page.

3. Press the first ‘F’ note on the keyboard which will select and audition
the note. This note will host the first sample slice map.

4. Direction. Ensure playback direction forward / reverse is correct. Adjust

with [Shift] + Turn (Blue).

5. Check Gain. If the audio level is too quiet or loud, adjust the gain for the
sample slice. Hold [Shift] + Turn (Orange) to set the gain. The key note
can be pressed to audition while doing so.

6. Check Tuning. Turn (Blue) to adjust in semitones. Tap (Blue) knob to

switch to fine adjustment mode, where tuning is performed in cents.
Audition by playing the note while adjusting to get the pitch required.

7. Play Mode. It is useful to set a gated play mode. This will play the slice
from the start only while the note is held and makes the setting of in
and out positions easier.

8. To set the In / Start point, Turn (Ochre). For fine adjustments, zoom into
the start area. To Zoom, Tap (Ochre).

9. To set the Out / end point of the slice, Turn (Grey). For fine
adjustments, zoom into the end region. To Zoom, Tap (Grey).

10. Check Attack Fade In. If needed adjust with [Shift] + Turn (Grey).

11. Iterate through steps 3-8 using the other keyboard note keys until a
drum kit is assembled across the keyboard.

12. As an optional tip, copy the edited slice to the next key to speed up
workflow. This will copy / paste the settings and only the In/Out points
need editing. To copy the source note, Hold [Note] + [Lift]. Then to
paste into a new target note key, Hold [Note] + [Drop].

The OP-1 Field Notebook : Reference & Guide 43

3 Drum
NOTES

Play Mode

The play mode will determine how the sample slice plays from its IN point
to its OUT point. The behaviour also is based on the note key played i.e.
held or pressed / lifted.

Group choke means that each time a grouped choke sample slice is
triggered, any other actively playing slice defined with a group play mode
will then stop playing. This emulates the choke behaviour of a drum kit for
example where an open Hi-Hat is played then when the same Hi-Hat is
closed it chokes / curtails the open sound.

Loop will simply play the slice IN to OUT continuously (unless played in
reverse then OUT to IN) as long as the note key is held and then will stop
playing when the note is lifted.

▌ADJUSTING THE PLAY MODE

1. Play Mode determines how the sample slices will play back when
triggered by the key note. These can be set during mapping, but may
also be changed for the final application need.

2. Press [Drum] to select Drum Mode and Press [T1] to ensure the
sampler page is on display

3. Press the key to edit and audition the sound.

4. Turn (Orange) to adjust the Play Mode as desired.

Gated Playback.
Play only while key is held. Plays from start, stops when released.

One-Shot Playback.
Plays through fully from in / start to out / end once a key is pressed.

Grouped Choke Playback.

Plays like a one-shot, unless another group choked key is pressed
which cuts off / chokes the initial grouped key.
G
Loop Playback.
Plays the slice from in/start to out/end, then restarts. Plays
continuously while a key is held or stops when released.

44 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

Play Mode Examples

Gated. Play only while key is held. Plays from start, stops when released.

Sample IN OUT
Slice
Note On Note Off

One-Shot. Plays through fully from in to out once a key is pressed.

Sample IN OUT
Slice
Note On Note Off

Group Choke. One-Shot but another group choked key cuts off the initial grouped key.

Sample IN OUT
Slice
Note On Note Off

A G

C G

Note On Note Off

Grouped
IN

Loop. Plays the slice continuously on loop in to out, in to out while ever a key is held.

Sample IN OUT
Slice
Note On Note Off

Note On

The OP-1 Field Notebook : Reference & Guide 45

3 Drum
NOTES

Panning

Samples in the OP-1F are stereo with the ability to control the left / right
stereo panning for each sample slice created. Stereo panning is the default
configuration. In addition, stacking mode is an alternative option that
adjusts the balance between the A and B sides to a mono out.

▌MANAGING STEREO BALANCE

1. Press [Drum] to select Drum Mode and Press [T1] to ensure the
sampler page is on display

2. Press the key to edit and audition the sound.

3. Select Stereo Mode. Hold [Shift] + Tap (Ochre) to toggle the setting.

4. Stereo Panning is default indicated by a L-R dial. To adjust the panning,

Hold [Shift] + Turn (Ochre) to change the left right pan position.

5. Mono stacking is indicated by a A-B dial. To adjust the balance, Hold

[Shift] + Turn (Ochre) to change the balance between the two A-B audio
channels.

L R L R

Stereo Out Mono Stack

+
L R A B

Out Out
Stereo Spread

Balanced Mix

Stereo Out

In In
F2

F2
R

R
L

46 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES 3.5 Installing External Drum Samples
There are various methods of creating the core drum sample that serves
as the source for the drum hits. Also there are many third party packs
available in the market. The process below can also be applied for Synth
patches. The typical considerations are:

• Sample should be a continuous single sample containing drum hits.

• General format used by the OP-1F is AIFF, 44.1KHz, 16 Bit, Stereo.

Mono as well as lower sample rates can be used. Drum files are
typically up to 20 seconds duration. AIFF - Audio Interchange File
Format is an uncompressed format developed in 1988 by Apple.

• Filename should be 11 characters or less. Try to keep the naming

convention sensible, unique and short. Avoid non standard characters.

▌QUICK INSTALL - EXTERNAL DRUM SAMPLE TO THE OP-1F

1. Connect the OP-1F using the USB-C connection to the PC / MAC

where the source file is located.

2. Press [Shift] + [Com] to enter COM Mode.

3. Hold [Shift] + [T4] to select Disk Mode. Synchronization will update

towards 100% and may take up to 25 Seconds. This is the method
used to view and access the OP-1F as an external disk drive from a
PC or Mac.

4. On the connected PC / MAC access the ‘OP-1’ Drive. Use whichever

file browser, finder window is appropriate on the PC / Mac. Only
sample patch data can be seen using this method.

5. The Drum folder will be visible as will the Synth folder. These can be
copied to the PC / Mac hard drive if required for backup.

6. Select your AIF Audio sample file and copy it from the PC / MAC and
into the ‘drum /snapshot’ folder location in the OP-1F file structure.

7. Once completed, ‘Eject’ the disk, Press [T4] to ‘Eject’ from the OP-1F
or select ‘Eject’ on the PC / Mac.

8. The OP-1F will prompt that the patch structure has changed and to
‘Press any Key’ to continue.

9. The installed sample patch will be visible in the Snapshot folder in

Drum mode.

The OP-1 Field Notebook : Reference & Guide 47

3 Drum
3.6 DBox Engine Overview NOTES

The DBox or Drumbox instrument is an 8 parameter drum synthesizer

engine. This contains 2 multi-shaped oscillators each with an envelope, a
cross modulation mixer plus a filter. It is possible to set each key with an
individually programmed DBox to create an entire drum kit including, for
example a kick, snare and hi hat.

[Drum]
Select Drum Mode

[T1]
I 2 3 4
DBox Engine Page

Pitch Waveform Envelope Cross Modulation

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5
Oscillator 1 Mix Mode
Default Access Shift = Filter
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

7
Oscillator 2 LONG DECAY 0
[Shift] + Access
SHORT ATTACK

Applied to
selected Note

Pitch Waveform Envelope Filter

Oscillator 1

Pitch Wave Envelope

Range Shape Amp

Filter
Mode - Cross Modulation
Sync 1 2 3 4 5 6 7 Cutoff

Pitch Wave Envelope

Division Shape Amp

Oscillator 2

Diagram is for illustration purposes and should only be used as a general guide. This does
not represent the exact schematic design of the OP-1F DBox. Teenage Engineering always
retain that element of mystery and puzzlement around the design of their features.

48 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES 3.7 DBox Setup
The DBox engine page, accessed via [T1] has a number of setup
parameters which allow mapping of a ‘patch’ of settings to each of the
keyboard notes. The knobs perform adjustments of parameter values. This
process creates drum kits which can be saved as presets.

[Drum] XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
[T1] for DBox 3 5

I 2 3 4 2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

LONG DECAY 0 7

SHORT ATTACK

DBox Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Osc 1 Pitch Osc 1 Waveform Osc 1 Envelope Cross Modulation

Oscillator 1 Pitch Wave shape for Adjust the oscillator Oscillator cross
setting. Adjust with oscillator 1. Adjust the amplification modulation mode.
respect to note played. mix between Sine, envelope. Adjust and mix
Square and Saw. between 7 modes.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Osc 2 Pitch Osc 2 Waveform Osc 2 Envelope Filter Cutoff

Oscillator 2 frequency. Wave shape for Adjust the oscillator Filter cutoff frequency
Adjust with respect to oscillator 2. Adjust the amplification adjustment.
the synchronisation to mix between Sine, envelope.
Oscillator 1. Square and Saw.

The note assigned to the patch is also displayed on the Dbox page as a
blue note in the keyboard graphic. This allows a different patch to be
applied to each key and therefore to build drum kits from various Dbox
patches.

The OP-1 Field Notebook : Reference & Guide 49

3 Drum
NOTES

▌SETTING UP A DBOX PER NOTE

1. Press [Drum] for Drum Mode.

2. Press [Shift] + [T1]. The Engine browser page will open.

3. Turn (Blue) to select between the DBox and Drum engine. The
highlighted option in white text is the active engine. Select ‘DBOX’.

4. It is important to note that this method only selects the drum engine
and does not change any preset settings. Presets capture all engine,
envelope and any applied effects or LFO settings held in pages T1-T4.
This process only selects the engine.

5. Press [T1] to exit back to the engine page.

6. Press the first ‘F’ note on the keyboard which will select and audition
the note. This note will host the first Dbox patch.

7. Oscillator 1. Note that when designing a sound, Oscillator 2 will also be

driven from a key.

• Pitch X-Fade. Turn (Blue) to adjust. Tap the note to audition. This is
the primary pitch driven by the keyboard.

• Wave Shape. Turn (Ochre) to adjust the wave shape and hence
the timbre of the sound.

• Envelope. Turn (Grey) to affect the envelope shape. Shorter attack

for percussive hits such as rim and longer decay for cymbals.

8. Oscillator 2.

• Pitch. Hold [Shift] + Turn (Blue) to adjust. Tap the note to audition.
This is synchronised to note played and oscillator 1.

• Wave Shape. Hold [Shift] + Turn (Ochre) to adjust the wave shape
and hence the timbre of the sound.

• Envelope. Hold [Shift] + Turn (Grey) to affect the envelope shape.

Shorter attack for percussive hits such as rim and longer decay for
cymbals.

9. Cross Modulation. Turn (Orange) to adjust the Oscillator cross

modulation mode.

10. Adjust the filter. Hold [Shift] + Turn (Orange).

50 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

11. Sound design is an iterative process. Cycle between functions to

tweak and tune the sound as desired. Work through steps 6-9 to settle
on a sound.

12. Select another note key ie ‘G’ and develop the sound for this note.

13. As an optional tip, copy the DBox parameters to the next key to speed
up workflow. This will copy / paste the settings and the sound can be
developed further. To copy the source note, Hold [Note] + [Lift]. Then to
paste into a new target note key, Hold [Note] + [Drop].

14. Once complete, save as a new preset. Keep hold of any Sound
Selection buttons [1] - [8] to save the preset. This will also save the
preset as a snapshot.

The OP-1 Field Notebook : Reference & Guide 51

3 Drum
3.7 DBox Preset Patches NOTES

To help deconstruct a Dbox patch and to understand the settings better a

series of classic sounds are illustrated below. These examples of preset
patches and their parameters give a good indicator and starting point when
designing Dbox sounds.

XFADE OSC ENV MODE FILTER

KICK
4
50 LONG DECAY
3 5 Oscillator 1:
Pitch 25, Square 40%, Envelope Short 5%
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7 Pitch 1/8, Sine 0%, Envelope Short 10%
Cross Modulation & Filter
SHORT ATTACK
Mode 1, Filter Cutoff 2.5

XFADE OSC ENV MODE FILTER

SNARE
4
50 LONG DECAY
3 5 Oscillator 1:
Pitch 65, Square 40%, Envelope Short 30%
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7 Pitch 1/4, Square 50%, Envelope Short 75%
Cross Modulation & Filter
SHORT ATTACK
Mode 5, Filter Cutoff 4.5

XFADE OSC ENV MODE FILTER

HI-HAT
4
50 LONG DECAY
3 5 Oscillator 1:
Pitch 80, Square 40%, Envelope Short 10%
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV Oscillator 2:

7
LONG DECAY 0 Pitch 1/1, Square 50%, Envelope Short 0%
Cross Modulation & Filter
SHORT ATTACK
Mode 1.2, Filter Cutoff 6.5

XFADE OSC ENV MODE FILTER

CLAP
4
50 LONG DECAY
3 5 Oscillator 1:
Pitch 50, Square 60%, Envelope Short 15%
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7 Pitch 1/4, Sawtooth 65%, Envelope Short 25%
Cross Modulation & Filter
SHORT ATTACK
Mode 4.8, Filter Cutoff 4.2

Set an envelope as desired. This is not

part of the direct Dbox parameters but is
saved with the patch

52 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES 3.8 Drum Envelope
The drum envelope is accessed within Drum Mode by pressing [T2]. The
envelope in the drum engine is a specifically designed dynamic envelope
and is not the traditional ADSR type envelope found in most audio
configurations. This envelope acts more like a transient shaper, ideal for
short percussive sample and sound shaping applications.

[Drum]
Select Drum Mode

[T2]
I 2 3 4
DBox Engine Envelope

Drum Mode Envelope Control Knobs

Blue Ochre Grey Orange

Attack Transient Gain Level Release Attack/Release Time

Attack slope shape, Overall gain level. Adjust the tail of the Attack and release,
positive or negative of sound shape in a combined time.
the initial transient. positive or negative
direction during the
release phase.

(Orange)
Attack & Release Time

(Blue) (Grey)
+/- Attack +/- Release

(Ochre)
Level - All

The OP-1 Field Notebook : Reference & Guide 53

3 Drum
3.9 Drum Mode Templates NOTES

A collection of blank templates are provided to allow the documenting of

your own patches and learning. There is a general sample convention for
mapping to note keys for the OP-1F which is also provided below.

OP-1F Drum Sample & Sound Convention

Shift

Kick (Main) F
F# Kick (Alternate)
Snare (Main) G
I

G# Snare (Alternate)
Rimshot
2

A
A# Handclap
Tambourine
3

Sample 8
4

C
C# Hi Hat Open
Sample 9
IN

D
I

D# Hi Hat Closed
Sample 10
OUT
2

Sample 11 F
3

F# Cymbal Ride
Sample 12 G
4

G# Cymbal Crash
Sample 13 A
5

A# Sample 15
Sample 14 B
6

Bass 1 C
7

C# Bass 2
Bass 3 D
8

D# Bass 4
Bass 5 E

The convention illustrated is for guidance only. This doesn't not have to be
applied and any individual user or alternative format is perfectly acceptable.

54 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

Drum Sample Templates

Name

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

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

Name

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

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

Name

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

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

The OP-1 Field Notebook : Reference & Guide 55

3 Drum
NOTES

Dbox Templates

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

56 The OP-1 Field Notebook : Reference & Guide

 Drum 3
NOTES

Dbox Templates

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

Name

XFADE OSC ENV MODE 4 FILTER

50 LONG DECAY
3 5 Oscillator 1:
2 6
ENVELOPE 2 SHORT ATTACK

2 FREQ OSC 2 ENV

Oscillator 2:
LONG DECAY 0 7

Cross Modulation & Filter

SHORT ATTACK

The OP-1 Field Notebook : Reference & Guide 57

 NOTES

58 The OP-1 Field Notebook : Reference & Guide

 4
Synths
The OP-1F contains thirteen Synthesizer also an equivalent to the DBox Drum engine
engines (Yes 13!) including a sampler and called DSynth. Each Synthesizer has a FX Slot
vocoder all contained within synth mode of the and an LFO Modulation slot from which to
device. These synths don’t strictly follow the further design a sound and develop tunes and
traditional format, for example the most create full patches. Coupled with the other
common generic synth format is subtractive effects, sequencers, mixer and tape features
synthesis where you would typically see one or the synth engines offer an almost endless
more oscillators followed by a filter section and range of possibilities in such a small form factor.
amp. The recommended approach is to tweak Getting into the deeper synth characteristics
and twiddle to shape the sound you desire by and coupling with the other OP-1F functions
ear and not to worry too much about what’s emphasises the reality that whilst the OP-1F
going on behind the scenes. This seems to be may look simple, it truly has some very powerful
the way with most of the OP-1F features where functions and an extremely well stocked feature
precise details of the actual inner workings set. Some of the extended descriptions given in
remains a mystery. Perhaps this is part of the this section are mainly based on observed
OP-1F charm. Having said that there are some behaviour and analysis and not necessarily
traditional synth features on show too, for based on official TE design level insights. This
example, FM follows the cross modulation should therefore be considered as a descriptive
principles of classic frequency modulation illustration only. It may be good enough to give
synths. There are also quirky engines like DNA, some sense of how the engines and
named based on its approach in using the inner parameters operate while still retaining the TE
CPU’s features to generate sound. There is mystery and spirit.

The OP-1 Field Notebook : Reference & Guide 59

4 Synths
4.1 Synth Mode Introduction NOTES

Synth mode gives access to the thirteen synth engines, each with its own
unique character and format. Synth mode is accessed by pressing [Synth].
As well as the engine itself, a synth envelope is also provided. The generic
effects and modulation can also be applied. The Track buttons T1-T4 select
between the engine, envelope, effects and LFO options.

[Synth]
Select Synth Mode

Synth Engine. Example - DSynth

XFADE OSC ENV 0 [Shift] + [T1]

50 LONG DECAY
0 Synth Engine Selection
MODE 4 FILTER
ENVELOPE 2 SHORT ATTACK
3 5
2 FREQ OSC 2 ENV
LONG DECAY
2 6

0 7
8 SHORT ATTACK

[T1]
Synth Main Page I 2 3 4

[T2] Synth Envelope.

[T3] Effect
DISTANCE

52
MIX

GATE Optional
COLOR

[T4] LFO
AMPERE

MIDI 30
AMOUNT DEST PARAMETER

26 00
AMP
Optional

60 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

▌SELECTING SYNTH MODE

1. Press [Synth]. Synth mode is selected, the initial page will show the
synth engine parameters and settings for the selected engine.

▌PLAYING SYNTH NOTES

1. Ensure Synth Mode is active.

2. Press any Keyboard [Note] Key. The note will play. This may be one of
the synth engines or a synth sample depending on the active engine.
The keyboard covers 2 octaves starting at ‘F’.

3. The note will play on each press. If the sequencer is active, the
sequenced pattern may start playing when a note is held when
operating in the synth page.

▌IDENTIFYING A TRIGGERED NOTE

1. Press a chosen keyboard key. The note will be triggered.

2. Hold [Help] then press [Note].

3. The note value triggered i.e. C, D, E will be displayed as it is triggered.

[Help] + [Note]
C Displays the triggered note value

▌SELECTING A SYNTH ENGINE

1. Ensure Synth Mode is active.

2. Press [Shift] + [T1]. The Engine browser page will open.

3. Turn (Blue) to select between the available engines. The highlighted

option in white text is the active engine.

4. It is important to note that this method only selects the synth engine
and does not change any preset settings. Presets capture all engine,
envelope and any applied effects or LFO settings held in pages T1-T4.
This process only selects the engine.

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4 Synths
4.2 Synth Presets NOTES

All of the OP-1F Synth and Drum engines use presets as a means of
storing the settings. The process here applies to both drum and synth
mode. Buttons [1] - [8] operate as quick sound selection buttons, each of
which stores a synth preset. A full preset library is also available for each
engine and these are the source for assigning to the sound selection
buttons. The preset library is found in the engine / preset browser.

1 [Synth]
Select Synth Mode

Synth Engine & Preset Browser

3
CLUSTER AUTO RPTR
[Shift] + [1] - [8]
7 DIGITAL
DIMENSION
BOOOOH
DAYLIGHT Open Preset Browser
DNA FOREVER
DR WAVE FORGOTTEN
DSYNTH GLENN
FM LOW END
PHASE LULLABY
PULSE MC DOOM

Turn (Blue) Turn (Knob)

Select Engine Assign Preset
4 5
FORGOTTEN

I 2 3 4 5 6 7 8
IN OUT

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

2
[Shift] + [Synth] Press [1] - [8]
Reset a Preset to its original settings Select Preset Sound Slot

Anatomy of a Synth Preset

A Synth preset consists of the engine and envelope settings plus an active effect and any
applied modulation option settings. Synth presets hold the synth where notes are then
triggered by the keyboard.

[T1] [T2] [T3]

Synth Synth
Effect
Engine Envelope

Drum Mode Specific Generic Options

LFO

[T4]

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 Synths 4
NOTES

▌SELECTING A SYNTH MODE PRESET

1. Ensure synth mode is active.

2. Press [1] - [8] sound selection button to select a stored preset. Each of
the sound selection buttons carry a stored preset.

3. The preset, containing the settings for the engine, envelope and any
applied effect or LFO settings will immediately be selected as active.

4. An edited synth preset can be reset back to its original state by

pressing [Shift] + [Synth]

▌ASSIGNING A PRESET TO A SOUND SELECTION BUTTON

1. Ensure synth mode is active.

2. Hold [Shift] + [1] - [8] sound selection button.

3. The browser will open in order to choose a synth preset to assign to

the button number 1-8 selected. The quick sound selection button
number selected is displayed top left on the browser page.

4. Turn (Blue) knob to select a synth engine. Thirteen engines are

available, each with its own preset library.

5. Turn (Ochre) or any other knob except (Blue) to select a synth preset.
The preset, containing the settings for the engine, envelope and any
applied effect or LFO settings will be assigned to the quick sound
selection button chosen in step 2 above.

6. Press [T1] or [Synth] to return to the Synth page.

▌CHECKING THE CURRENTLY LOADED PRESET

1. Ensure Synth Mode is selected.

2. Hold [Help].
[Help]
DIGITAL Displays the currently loaded preset sound
selection number & name

Blue indicates a synth engine, ochre is a drum engine preset. An * Asterisk

indicates a patch that is edited and different from the original preset

The OP-1 Field Notebook : Reference & Guide 63

4 Synths
NOTES

▌SAVING A PRESET

1. After editing any of the engine, envelope, effect or LFO parameter

values the preset can be saved.

2. Hold any of the [1] - [8] sound selection button for 5 Seconds. The
save timer will display showing the quick sound button number.

3. The sound is saved in the ‘SNAPSHOT’ folder which can be located in

the synth preset browser list. Press [Shift] + [1] to [8] to access.

2 SAVING

▌DELETING A USER PRESET

1. Any user saved presets contained in the ‘SNAPSHOT’ folder in the

preset browser can be manually deleted. Original factory presets for
each engine cannot be deleted.

2. Press [Shift] + [1] - [8] to open the preset browser.

3. Turn (Blue) to navigate to the ‘SNAPSHOT’ folder. This folder will only
be present if a preset has been previously saved.

4. Turn (Ochre) or any knob except (Blue) to navigate to the preset.

5. With the target preset highlighted, text white, Press [T4] to Delete.

6. The option to Cancel using [T3] is presented or Press [T4] to confirm

OK to delete.

7. The preset will be deleted.

A Snapshot folder is created when saving

DIMENSION 2023- 27 #0
DNA 2023- 27 #02
user presets. The presets can be deleted
DR WAVE or renamed from within the Snapshot
DSYNTH folder. Original factory presents cannot
FM
PHASE be edited in the browser.
PULSE
SAMPLER
SNAPSHOT
NAME DEL

The saved presets have a default naming convention, unless renamed. This is based on
the day / year that the preset is saved and the OP-1F date / time setting.

YEAR - DAY OF YEAR # SEQUENCE NUMBER e.g. 2023 - 127 = 7th May, Number 01

64 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

▌RENAMING A USER PRESET

1. Any user saved presets contained in the ‘SNAPSHOT’ folder in the

preset browser can be manually renamed. Original factory presets for
each engine cannot be renamed.

2. Press [Shift] + [1] - [8] to open the preset browser.

3. Turn (Blue) to navigate to the ‘SNAPSHOT’ folder. This folder will only
be present if a preset has been previously saved.

4. Turn (Ochre) or any knob except (Blue) to navigate to the saved preset
to rename. The user snapshots by default are saved with an assigned
name associated with the current year, day of the year when saved
along with a sequential number.

5. With the target preset highlighted, text white, Press [T1] to Rename.

6. The edit cursor will appear on the first character of the name.

• To move the cursor character edit position, Turn (Blue) or press the
[Left] or [Right] buttons. Also press [T2] to move to the next
character in the string of characters.

• To change the highlighted character, Turn (Ochre).

7. Once editing is complete, Press [T1] - OK. This will save the new name
for the preset. The option to cancel without saving is also available,
Press [T3] to Cancel if required.

(Blue)
Move Cursor

AMBIENTX NAME [T1] to Rename

AB C D E F G H I J
KLMNOPQRS
(Ochre) TUVWXYZ#-
Change Character 0123456789

The OP-1 Field Notebook : Reference & Guide 65

4 Synths
4.3 Synth Sampler Engine Overview NOTES

The stereo synth sampler engine operates as a chromatic sampler using a

single sample. A loop section is defined which forms the audio source,
played chromatically. When a note is on, the sample plays from the start
point to the loop end and restarts from the loop start point and continues
while a note is held. When the note is released the sample plays until the
end point. The main drum page is selected using [T1].

[Synth]
Select Synth Mode

[T1]
I 2 3 4
Synth Engine Sample Page

Start (1) End (1)

Fade
Sample L

Left

Sample
Right

Loop In Point (1) Loop Out Point (1)

1. Tap the encoder to zoom in / out on the waveform selection start / end
and loop points or to select a higher resolution setting for fine tuning

Hold [Shift]
Additional Parameters

Direction Fine Tune (1) Loop Fade Gain

TUNE 9.00 FADE 6 +0

L

66 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Anatomy of a Synth Engine Sample

The Synth sampler uses a continuous sample where a section of this

sample is set to a loop and is fine tuned. The notes played will trigger the
sample and loop at the pitch determined for each key chromatically.
Maximum recording time to the synth sampler is 6 seconds.

6 Second Continuous Stereo Sample

Looped Section

A selected part of the

sample is set to loop

F# G# A# C# D# Sample played by all

F G A B C D E notes

End loop with fades

to create seamless
looping

‘Start’ ‘Loop In’ ‘Loop Out’ ‘End’

Note On Note Off

Note e.g. ‘F’, triggers the

sample playback chromatically.
R Playback is continuous while
ever a note is held.

Note On: F# G# A# C# Note Off:

Plays from ‘Start’ point until the Playback of the loop section is
‘Loop End’. Then play restarts released and the sample play
at the ‘Loop Start’ and cycles continues once until reaching
from loop start to loop end. F G A B C D the ‘End’ point then stops.

The OP-1 Field Notebook : Reference & Guide 67

4 Synths
4.4 Synth Sampler Engine Setup NOTES

The sampler engine page, accessed via [T1] has a number of setup
parameters which allow selection of sample elements to play chromatically
by the keyboard. The knobs adjust the parameter values. This process
creates an audio source and settings which can be saved as a preset.

[Synth]
[T1] for Synth Sample L

I 2 3 4
R

Synth Sampler Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Sample Start Loop In Point Loop Out Point Sample End

Adjust the sample Sets the sample loop Sets the sample loop Adjust the sample end
start position. This is In position. Used to Out position. Used to position. End position
where the ‘note on’ isolate the section for isolate the section for of sample playback
point is triggered. playback when a note playback when a note when note is released
is held. is held. with ‘Note Off’.

Tap Blue Tap Ochre Tap Grey Tap Orange

Zoom at the Start Zoom at the In Point Zoom at the Out Point Zoom at the End
The sample display The sample display The sample display The sample display
will zoom in or out of will zoom in or out of will zoom in or out of will zoom in or out of
the start point region the in point region the end point region the end point region

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Direction Fine Tune Fade Gain

Select the playback of Adjust pitch tuning. Sets a fade at the loop Adjust the sample gain
the sample direction Sets a fine end. Helps to avoid level. Range is -INF, -
as forwards or play adjustment. Range -96 audio clicks on loop. 69 to +24 dB.
backwards i.e. in to +76.23 Cents. Set to Off, 0-9.
reverse.

Shift + Tap Blue Shift + Tap Ochre Shift + Tap Grey Shift + Tap Orange

Finer Tune
Switches the control
knob to a finer, point
level tuning resolution.

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 Synths 4
NOTES

Notes & Samples

A primary process with the Synth Sampler is to load a single sample into
the engine and edit the sample to ensure it plays as desired from the
keyboard keys. More details on sampling is provided later.

▌SETTING A SAMPLE TO A NOTE

1. Load a preset to edit and then save to a new snapshot. A typical

sample is stereo format, 32bit and approx 6 seconds in length.

2. Press [Synth] for Synth Mode and Press [T1] for the sampler page.

3. Press the first ‘F’ note on the keyboard which will select and audition
the note. Notes play the sample chromatically.

4. Direction. Ensure playback direction forward / reverse is correct. Adjust

with [Shift] + Turn (Blue).

5. Check Gain. If the audio level is too quiet or loud, adjust the gain for the
sample. Hold [Shift] + Turn (Orange) to set the gain. The key note can
be pressed to audition while doing so.

6. To set the Start point, Turn (Blue). This is the ‘Note On’ point of where a
sample starts playing when triggered by a note.

7. To set the End point, Turn (Orange). This is the final position the
sample will play to after a ‘Note Off’ is triggered by releasing the note.

8. To set the Loop Out point, Turn (Grey). This is the point from which
playback will cycle back when a note is continuously held.

9. To set the Loop In point, Turn (Ochre). This is the point from which
playback will restart. When a note is held the sample will play from
start, then play continuously between the Loop In and Out points until
the note is released. Once released it will play to the end point.

10. Fade. Hold [Shift] + Turn (Grey). The fade is set at the end of the loop
to avoid clicks at the loop transition point. It is advised to keep this
value as low as possible to keep the loop audio smooth. Options are
Off or a fade duration between 0-9.

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4 Synths
NOTES

11. Check Tuning. Hold [Shift] + Turn (Blue) to adjust in cents. Hold [Shift]
+ Tap (Blue) knob to switch to an even finer adjustment mode, where
tuning is performed in point values. Audition by playing the note while
adjusting to get the pitch required. Note that samples would typically be
recorded or created with the note tuning in mind and only fine tuning
would then be considered.

12. Iterate through steps 6-11 to get more precise settings until settling on
a final set up.

13. The final state can be saved into a preset by holding the quick sound
selection button [1] to [8]. The Sound will also be saved into a
‘SNAPSHOT’.

‘Fade’
9 .. 5 .. 2 .. 0 Off

Note On Note Off

‘Start’ ‘Loop In’ ‘Loop Out’ ‘End’

A Note On trigger will play from the ‘Start’ position and play continuously
while held, through the ‘Loop In’ to ‘Loop Out’. When the Note Off is
triggered by releasing the note will play until the ‘End’ point.

70 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES 4.5 Installing External Synth Samples
There are various methods of creating the core synth sample that serves
as the source. Also there are many third party packs available in the
market. The process below can also be applied for Drum patches. The
typical considerations are:

• Sample should be a continuous single sample.

• General format used by the OP-1F is AIFF, 44.1KHz, 16 Bit, Stereo.

Mono as well as lower sample rates can be used. Synth files are
typically up to 6 seconds duration. AIFF - Audio Interchange File
Format is an uncompressed format developed in 1988 by Apple.

• Filename should be 11 characters or less. Try to keep the naming

convention sensible, unique and short. Avoid non standard characters.

▌QUICK INSTALL - EXTERNAL SYNTH SAMPLE TO THE OP-1F

1. Connect the OP-1F using the USB-C connection to the PC / MAC

where the source file is located.

2. Press [Shift] + [Com] to enter COM Mode.

3. Hold [Shift] + [T4] to select Disk Mode. The synchronization will reach
100% and may take up to 25 Seconds. This is the method used to view
and access the OP-1F as an external disk drive from a PC or Mac.

4. On the connected PC / MAC access the ‘OP-1’ Drive. Use whichever

file browser, finder window is appropriate on the PC / Mac. Only
sample patch data can be seen using this method.

5. The Synth folder will be visible as will the Drum folder. These can be
copied to the PC / Mac hard drive if required for backup.

6. Select your AIF Audio sample file and copy it from the PC / MAC and
into the ‘synth /snapshot’ folder location in the OP-1F file structure.

7. Once completed, ‘Eject’ the disk, Press [T4] to ‘Eject’ from the OP-1F
or select ‘Eject’ on the PC / Mac.

8. The OP-1F will prompt that the patch structure has changed and to
‘Press any Key’ to continue.

9. The installed sample patch will be visible in the Snapshot folder in

Synth mode.

The OP-1 Field Notebook : Reference & Guide 71

4 Synths
4.6 DSynth Engine NOTES

The DSynth instrument is an 8 parameter synthesizer engine. This contains

2 multi-shaped oscillators, envelope crossfader, a cross modulation mixer
and a filter.

[Synth]
Select Synth Mode

[T1]
I 2 3 4
DSynth Engine Page

Envelope Waveform Envelope Cross

Crossfade Modulation

XFADE OSC ENV 0

50 LONG DECAY
0
Oscillator 1 Mix Mode
MODE 4 FILTER Shift = Filter
Default Access
ENVELOPE 2 SHORT ATTACK
3 5
2 FREQ OSC 2 ENV
Oscillator 2 LONG DECAY
2 6
[Shift] + Access
0 7
SHORT ATTACK

Pitch Waveform Envelope Filter

Oscillator 1

Pitch Wave Envelope

Shape Amp

Filter
Mode - Cross Modulation
X-Fade Cutoff
1 2 3 4 5 6 7 Env

Freq Wave Envelope

Division Shape Amp

Oscillator 2

Diagram is for illustration purposes and should only be used as a general guide. This does
not represent the exact schematic design of the OP-1F DSynth. Teenage Engineering
always retain that element of mystery and puzzlement around the design of their features.

72 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

The DSynth engine page, accessed via [T1] has a number of setup
parameters which allow the creation of a ‘patch’ of settings. The knobs
perform adjustments of parameter values.

[Synth]
XFADE OSC ENV 0
[T1] for DSynth 50 LONG DECAY
0

I 2 3 4 MODE 4 FILTER
ENVELOPE 2 SHORT ATTACK
3 5
2 FREQ OSC 2 ENV
LONG DECAY
2 6

0 7
8 SHORT ATTACK

DSynth Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Envelope Crossfade Osc 1 Waveform Osc 1 Envelope Cross Modulation

Crossfader between Wave shape for Adjust the oscillator Oscillator cross
oscillator envelopes. oscillator 1. Adjust the amplification modulation mode.
mix between Sine, envelope. Adjust and mix
Square and Saw. between 7 modes.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Osc 2 Pitch Osc 2 Waveform Osc 2 Envelope Filter Cutoff

Oscillator 2 pitch. Wave shape for Adjust the oscillator Filter cutoff frequency
Adjust with a division oscillator 2. Adjust the amplification adjustment.
setting with respect to mix between Sine, envelope.
the note played. Square and Saw.

The note will determine the source pitch frequency. The page will display
the Oscillator 1 as default and holding shift will display Oscillator 2 settings
as indicated in the top right of the page.

The OP-1 Field Notebook : Reference & Guide 73

4 Synths
4.7 Cluster Synth Engine NOTES

Cluster is a digital multi-layered, 4 parameter synthesizer engine. This

contains up to 6 oscillators chained as a cluster of waves plus a common
synth engine envelope. Cluster is ideal for epic chords and stabs as well as
melodic progressions.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Cluster Engine Page

Wave Envelope Spread Unitor

99 99 99 61
WAVES WAVE ENV SPREAD UNITOR

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Cluster Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Waves Envelope Spread Unitor

Number of waves. Up Filter envelope Adjust the wave Applies modulation
to 6 oscillators can be amount applied to the spread applying a drift to the detuning of
applied and chained audio chain. slight detune. the oscillators
into the cluster.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

74 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Cluster Synth Observed Behaviour

This illustration gives a general observed overview of the function of the

cluster synth. As always with the OP-1, this is only observed behaviour and
does not claim to be a perfectly accurate technical representation.

Wave: The (Blue) wave control adjusts the number of oscillators applied.
Fully clockwise is all oscillators. Based on the original OP-1 Synth design
this operates with up to 6 oscillators, although the display shows 4 waves.
The general belief is that these are automatically modulated saw waves but
there are some settings that adjust through a sine wave shape.

Detune

Variation

Envelope: The (Ochre) Parameter appears to apply various filter envelope

preset states rather than applying a range of distinct Attack or Decay
values. The sound is almost super saw style. The observed behaviour is 3
overlapping zones of control, dependant on the direction and range of
travel. Initially unfiltered and possibly an inverted envelope with a saw
range 0-9 before applying a more sine based oscillator style 10-49. Over
50 the super saw style kick in more aggressively. The filter modulation
applied differently across the ranges.

Spread: The (Grey) Parameter detunes slightly the oscillator pitch across
the range of oscillators selected. Clockwise fully detuned.

Unitor: The (Orange) parameter appears to operate with a close

relationship to the spread value. Unitor appears to handle the speed /
range of the pitch detune frequency modulation.

The OP-1 Field Notebook : Reference & Guide 75

4 Synths
4.8 Digital Synth Engine NOTES

Digital is described as a true, raw digital synth engine. Digital operates with
clear digital characteristics and includes ring modulation. Ideal for grungy
fat basses, futuristic pads and lo-fi chip tune styles.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Digital Engine Page

Octave Detune & Digitalness Wave Shape

Ring Mod

WAVE
SHAPER

98

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments. Tap (Knob) to display
the parameter pop-up value indicator.

Digital Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Wave Shaper Octave Detune & Ring Mod Digitalness

Adjusts the wave Adjusts the sub Applies detuning and Applies a more buzzy
shape adding noise oscillator pitch tuning ring modulation effect. character indicative of
and distortion. by Octave 0-6 static noise.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

76 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Digital Synth Observed Behaviour

This illustration gives a general observed overview of the function of the

Digital synth. This is only observed behaviour and does not claim to be a
perfectly accurate technical representation. Use only as a guide. Tap the
(Knob) for a visual pop-up of the parameter and hold [Shift] to fine tune.

Wave Shape: The (Blue) wave control adjusts the shape of the wave form
adding distortion and grit and affecting the tone of the core sound. Digital
appears to operate at the lowest point as a square, pushing the shape over
the range with similarities to a saw.

Detune

Digitalness
Sub

Ring Mod

Octave: The (Ochre) Parameter tunes a sub oscillator in a range from 0 to

6 octaves with 3 the same as main oscillator. Operates in close conjunction
with the detune parameter. The higher the octave, the lower the detune
range.

Detune / Ring Modulation: The (Grey) Parameter detunes the oscillator

pitch on the sub oscillator 0-49. The range of the Octave is fully applied
and detuned. Above 50, the control turns ring modulation on with a set sub
oscillator pitch and shifts the octave range higher. Ring modulation effect is
more noticeable with a higher digitalness settings.

Digitalness: The (Orange) parameter adds more noise for a digital

characteristic and grit. The distortion and impact is recognised more with
higher ring modulation settings where the modulation is applied.

The OP-1 Field Notebook : Reference & Guide 77

4 Synths
4.9 Dimension Synth Engine NOTES

Dimension is one of the newer members of the OP-1 Synth engine family
and offers a number of more familiar subtractive features. Dimension
contains a series of wave shapes. The position between them is selectable
as the core audio source before routing through a filter. Ideal for acid style
sounds, general leads, chords and plucks.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Dimension Engine Page

Waveform Stereo Filter Frequency Resonance

WAVEFORM STEREO FILTER FREQ 500 RES

NOISE

SUB

NOISE

-1 0 1

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Dimension Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Waveform Stereo Filter Frequency Resonance

Select the wave Adjusts the Adjusts the filter cutoff Adjusts the filter
position across the modulation, applying frequency resonance.
range of wave shapes. an amount of chorus
type effect.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

78 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Dimension Synth Observed Behaviour

This illustration gives a general observed overview of the function of the

Dimension synth. This is only observed behaviour and does not claim to be
a perfectly technical representation although it is safe to say that the
dimension synth is an easier engine to interpret accurately than the others.

Waveform: The (Blue) wave control adjusts the position within the
wavetable list. The wavetable starts and ends with Noise and has pulse,
square, saw, sub saw options. The selection morphs between waves, ideal
for modulating.

Res

Stereo

Freq

Sub

Stereo: The (Ochre) Parameter adjusts the width and amount of the audio
modulation. This introduces a chorus-like effect.

Filter Freq: The (Grey) Parameter adjusts the filter cutoff frequency point.
The range is between 0 to 100% fully counter-clockwise which filters all
audio to a maximum of 18KHz which allows all audio to pass through.

Resonance: The (Orange) parameter adds or reduces resonance at the

cutoff point. High resonance levels and adjusting the Filter cutoff create
some classic filter sweep effects.

The OP-1 Field Notebook : Reference & Guide 79

4 Synths
4.10 DNA Synth Engine NOTES

DNA was created for the original OP-1 and named through its design
concept of creating audio from the internal BlackFin DSP chip and was
described as a CPU generated noise engine. The core components are the
wave, filter and a strong emphasis on wave modulation. Noisy and glitchy
sounds, harsh and industrial. Good for percussive sounds.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] DNA Engine Page

Filter Wave No. Wave Modifier Noise

CPU ID

6 6 3 3
3 6
3 6 6
FILTER 8 3 8 4
3 C
C C 6
3 3 3
3 C B A

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

DNA Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Filter Wave Number Wave Modifier Noise

Filter cutoff frequency Navigation within the Modulation and Amount of noise
audio generator. More manipulation of waves combined into the
about audio noise audio
segments than classic
wave shapes.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

80 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

DNA Synth Observed Behaviour

This illustration gives a general observed overview of the function of the

DNA synth. This is only observed behaviour and does not claim to be a
perfectly technical representation. The DNA does not follow traditional
synthesis models and is difficult to determine the exact technical structure.

Filter: The (Blue) wave control adjusts the filter cutoff frequency. The filter
does not fully close but is useful for filtering harsh frequencies and taming
the sound. The visual display representation the cutoff frequencies by the
level of animated modulation across the wave numbers. It is advised to set
a low frequency level as a starting point in patch design.

CPU
Freq

Modifier

Wave Number: The (Ochre) Parameter adjusts the wave number. This is
based on the manipulation of audio from the CPU and doesn't represent
any traditional wave expected in a synth but the principles of scanning a
wavetable can be adopted.

Wave Modifier: The (Grey) Parameter modulates the wave and is used
iteratively in harmony with the Wave Number parameter. This essentially
affects pitch detuning of some waves as well as timber / tone.

Noise: The (Orange) parameter adds or reduces a level of noise into the
audio. As if the DNA wasn't already a grungy aggressive synth, the noise
makes it even more so.

The OP-1 Field Notebook : Reference & Guide 81

4 Synths
4.11 Dr Wave Synth Engine NOTES

Dr Wave is a frequency domain synthesizer focussing heavily on the

modulation and control of a wave shape. The wave can be manipulated
from a saw, through square and triangle to more elaborate digital wave
shapes. Buzzy leads, lo-fi pads and organ style chords.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Dr.Wave Engine Page

Wave Type & Length Filter Chorus Phase

PHASE

47

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments. Tap (Knob) to display
the parameter pop-up value indicator.

Dr Wave Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Type & Length Filter Phase Chorus

Wave shape and Low and High Pass Adjusts and Application of wave
sample rate reduction resonant filter cutoff synchronises the wave modulation. Sets
of the wave. frequency. pulse width and wave modulation speed for
cycles. a chorus effect.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

82 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Dr.Wave Observed Behaviour

This illustration gives a general observed overview of the function of the

Dr.Wave synth. Some parameter titles may seem a little misleading and
often offer a divided parameter control. This is only observed behaviour
and does not claim to be a perfectly technical representation.

Wave Type & Length: The (Blue) control adjusts the wave shape with the
first 0-50 range morphing between a saw, square and triangle. Above 50
the waveforms are applied with a a gradual reduction in sample rate.

Pulse
Count

Mod
Speed
Pulse Cutoff
Width

Filter: The (Ochre) Parameter adjusts the filter cutoff frequency with a fixed
resonance. The control range 1-49 is the high pass filter adjustment while
51-100 adjusts the low pass filter cutoff frequency. A position of 0 means no
filtering while 50 fully filters out all the sound.

Phase: The (Grey) Parameter adjusts the pulse width. Over the 0-49 range
this only affects the pulse width of the single cycle waveform. Above 50, the
control also increases the wave cycles, and hence synchronises while
adding the additional harmonic content. This is a good formant style effect
creating vocal-like sounds.

Chorus: The (Orange) parameter adds a chorus-like effect. No chorus is

applied when set to 0. Modulation speed is increased over the control
range of 1-99.

The OP-1 Field Notebook : Reference & Guide 83

4 Synths
4.12 FM Synth Engine NOTES

FM is a 4 operator synthesizer engine useful for glass-like leads, bells,

percussion and delicate or expansive pads. Frequency Modulation
synthesis works with a set of algorithms which connects oscillators to
modulate others or to generate audio sounds.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] FM Engine Page

FM Amount Detune Topology Frequency

FREQ

46

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments. Tap (Knob) to display
the parameter pop-up value indicator.

FM Control Knobs
Turn Blue Turn Ochre Turn Grey Turn Orange

FM Amount Frequency Topology Detune

Adjusts the intensity of Frequency of the Defines the operator Application of wave
the carrier volume and oscillators relative to role as carrier or modulation. Sets
modulation amount each other modulator. modulation speed for
a chorus effect.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

84 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

FM Observed Behaviour

This illustration gives a general observed overview of the function of the

FM synth. This is only observed behaviour and does not claim to be a
perfectly technical representation.

The basic concept of Frequency Modulation synthesis works on the

principle of a collection of operators (Oscillator with amplitude envelope)
interconnected into an algorithm. These can operate as a ‘modulator’
modulating a sound source called a ‘carrier’ which then outputs an audio
sound based on their harmonic relationship. OP-1 Field has an
interpretation of this applied to its FM synth engine where 4 operators are
configurable into multiple algorithms.

FM Amount: The (Blue) control adjusts the intensity of the modulation

applied from a modulator and/or the level of the carrier audio output. The
base level of 0 is fully counter-clockwise.

Detune Amount

1/16 - 2 - 5/8 - 4 - 1.75 - 7/16 - 3.5 - 1 Operator

2 - 1.5 - 1 - 1/2 - 3/4 - 1/4 - 5/32 - 1/32 Operator

Audio

1/64 - 3/32 - 1/8 - 5/16 - 1/2 - 5/8 - 1 - 2 Operator

Base Operator

Frequency
Topology

Frequency: The (Ochre) Parameter adjusts the operators frequency with

respect to others. Generic FM synths use ratios. There are 8 values per
operator. This is a core element in frequency modulation and the harmonic
relationship between operators generates new harmonics and hence
sound designs.

Topology: The (Grey) Parameter sets the algorithm configuration and

determines if an operator is a carrier (upper position with no adjacent /
lower operators) or a modulator.

Detune: The (Orange) parameter detunes the operators to affect the

sound, adding movement or harmonic character.

The OP-1 Field Notebook : Reference & Guide 85

4 Synths
4.13 Phase Synth Engine NOTES

Phase is a phase distortion synthesizer focussing heavily on the

modulation and control of a wave shape. The wave is manipulated with the
parameters. Creates a buzzy, low fi sound. Used with a short envelope
ideal for springy, arpeggiated sequences.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Phase Engine Page

Phase Shift Distortion Phase Phase Tilt

Amount Filter

PHASE FILTER

DIST TILT

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Phase Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Phase Shift Distortion Amount Phase Filter Phase Tilt

Wave shape shifting to Distorts the wave Affects the wave Applies a wave ‘tilt’
add harmonic content shape. amplitude and shape similar to wave folding.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

86 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Phase Observed Behaviour

This illustration gives a general observed overview of the function of the

Phase synth. This is only observed behaviour and does not claim to be a
perfectly technical representation. The Phase synth appears to start with a
basic sine wave with all parameters at 0 to Counter-clockwise. Modulation
and manipulation of the wave shape then forms creative sound design.

Phase Shift: The (Blue) controls phase shift but not the basic horizontal or
vertical shift of the entire wave but applies both in part. The adjustment
starts at a zero position with a basic sine wave then increasing the value
adds more harmonics, pushing the wave to a more square shape.

Distortion Amount: The (Ochre) Parameter adjusts the amount of distortion

applied. This distorts the wave shape affecting the timbre further.

Phase Filter: The (Grey) Parameter adjusts the filtering of the wave
amplitude, emphasising the distortion and harmonics. This is not a
traditional frequency orientated filter but operates more at a amplitude
level.

Phase Tilt: The (Orange) parameter adds more distortion with what
appears to be a wave folding process creating noise and emphasising
some frequencies.

The OP-1 Field Notebook : Reference & Guide 87

4 Synths
4.14 Pulse Synth Engine NOTES

Pulse is a dual pulse train synth. This operates with two pulse oscillators
and focusses heavily on the modulation and filtering of the pulse trains.
This synth is useful for textural pads, brass instruments, drones and
futuristic sequences.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Pulse Engine Page

Amplitude Filter 2nd Pulse Modulation

FILTER MOD

TIME

AMPL

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Pulse Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Filter Amplitude 2nd Pulse Modulation

Filter cutoff frequency Pulse amplitude Adjusts the pulse time Application of pulse
between first and width modulation
second pulse. amount and speed.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

88 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Pulse Observed Behaviour

This illustration gives a general observed overview of the function of the

Dr.Wave synth. Some parameter titles may seem a little misleading and
often offer a divided parameter control. This is only observed behaviour
and does not claim to be a perfectly technical representation.

Filter: The (Blue) control adjusts the filter cutoff. This appears to be
controlled by an envelope follower which pushes the pulse shape.

Modulation

Width

Amplitude: The (Ochre) Parameter adjusts a basic amplitude setting of the

pulse train affecting is volume level.

Second Pulse: The (Grey) Parameter adjusts the relationship between the
second and first pulse. Generally affecting the pulse width of the second
pulse. An interesting destination for an LFO to create pulse width
modulation.

Modulation: The (Orange) parameter operates like an LFO and adds

modulation to the pulse width, increasing depth and speed from 49-0 value
range. The range at 50 applies no modulation. Range of 51-100 also
applies pulse width modulation at a faster rate and more reliant on the
position of the 2nd pulse.

The OP-1 Field Notebook : Reference & Guide 89

4 Synths
4.15 String Synth Engine NOTES

String is described as a waveguide string model synth. String is an

emulation of a string instrument and is ideal for plucked strings and
percussive, acoustic sounds.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] String Engine Page

Decay Tension Detune Impulse

+ IMP TYPE

IMP

-
TENSION

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

String Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Tension Decay Detune Impulse

Value sets how loose The impulse decay. Adjusts the phase Type of impulse that
and sustained or tight Low values have a detuning between strikes the strings.
and plucky the virtual plucky, short decay strings Hard or softer
strings are. High values are longer emulations.
bow-like sounds.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

90 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

String Observed Behaviour

This illustration gives a general observed overview of the function of the

String synth. String appears to adopt Karplus-Strong principles where the
defined model emulates a string instrument based on generating a short
waveform or noise which then passes through a filtered delay. Filtering
gradually reduces the high frequencies through the feedback loop. The
parameters appear to emulate the string control elements. This is only
observed behaviour and does not claim to be a perfectly technical
representation.

Tension: The (Blue) control emulates how much the virtual strings are
tightened at higher parameter values or relaxed lower values. A tighter
tension is plucky and less sustained.

0 100

Delay
Noise
Source

Decay: The (Ochre) Parameter adjusts the impulse decay. This emulates
how a string is played. This could be a short pluck at minimal values or a
longer strum or bow of the strings at higher values.

Detune: The (Grey) Parameter adjusts the phase detuning between strings.
Offers a subtle change in tone and emulates different string tunings.

Impulse: The (Orange) parameter adjusts how the strings are struck using
filtering techniques. Hard excitation at low levels and softer at upper
values. In real world scenarios, finger nails, plectrums, fingers, bows all are
applied with string instruments.

The OP-1 Field Notebook : Reference & Guide 91

4 Synths
4.16 Voltage Synth Engine NOTES

Voltage is a multi oscillator electric synthesizer. Voltage revolves around

the theme of electricity and static charge creating sounds that are ideal for
epic deep pads, metallic percussion and gritty basses.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Voltage Engine Page

Modulation Ground Noise Phase Filter Detune

+ -
GROUND NOISE

AMPERE VOLT
V
380
230

115
48
12
9
0

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Voltage Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Modulation Ground Noise Phase Filter Detune

Amplitude modulation Adds noise and Filter that controls Detunes the sub
distorts the waveform. cutoff frequency. oscillator from the
main oscillator.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

92 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Voltage Observed Behaviour

This illustration gives a general observed overview of the function of the

Voltage synth. This is only observed behaviour and does not claim to be a
perfectly technical representation. Voltage operates with 1 Oscillator plus 1
Sub-Oscillator with cross modulation.

Modulation: The (Blue) control adjusts the modulation between the sine
wave oscillators for the signal amplitude. The effect impact will depend on
the other settings

Sub

Modulation
Noise

Main

Ground Noise: The (Ochre) Parameter introduces distortion to the sine

wave and hence additional harmonics. In the later stages of the control
noise is added.

Phase Filter: The (Grey) Parameter adjusts the low pass filter cutoff. This
also operates in conjunction with the noise setting to distort the wave.

Detune: The (Orange) parameter detunes the sub-oscillator. At minimum 0

the oscillators are matched but detuning occurs as the value of the
parameter is increased with the knob.

The OP-1 Field Notebook : Reference & Guide 93

4 Synths
4.17 Vocoder Synth Engine NOTES

Vocoder operates in conjunction with an audio signal, typically using the

microphone. Vocoder has a built in synth engine that operates on vocal
orientated attributes to distort and transform human voice sounds. Ideal for
robotic, lo-fi and distorted vocal leads. Also useful for transforming other
audio samples and inputs.

[Synth]
Select Synth Mode.

[Shift] + [T1] Select Engine

I 2 3 4
[T1] Vocoder Engine Page

Waveform Formant Bands Mix

0 7

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments. The active input is
shown top right of the vocoder page.

Vocoder Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Waveform Formant Bands Mix

Selects from a single Selects a formant Increases or Dry / Wet mix between
S - Saw wave, setting +/-4. decreases the number main audio and
increases oscillator of bands applied vocoded sound.
numbers up to a N -
Noise setting.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

94 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

Vocoder Observed Behaviour

This illustration gives a general observed overview of the function of the

Vocoder synth. A generic vocoder is a vocal synth which uses a modulator,
typically a voice audio signal which is modulated by a carrier, typically a
synth note or chord. An array of band pass filters are applied to generate
harmonic content called formants which are aligned to speech. This
creates interesting voice transformations. This description below is only
observed behaviour and does not claim to be a perfectly technical
representation although the vocoder is a fairly simple device.

Waveform: The (Blue) control adjusts the wave. The vocoder includes a
integral 7 oscillator polysynth as the carrier. The minimum value named S,
generates a single saw wave. Moving to the upper end of the scale the
control by adds more oscillators until pure Noise, labelled N is applied.

F
F
Carrier
F

F
Mix
F
F
Microphone
Audio Modulator F
Source
BP Filter Array

Formant: The (Ochre) Parameter adjusts +/-4 formants. Formants are the
harmonics generated by human vocal chords. This control shifts the
frequency of the band pass filters which changes the sound character to a
deeper or higher voice tone.

Bands: The (Grey) Parameter adjusts the number of applied bands from 0-
7. The application of band pass filters control the vocal tone with a higher
number of bands sounding more human-like and a lower number gives a
more vocoded synthetic sound.

Mix: The (Orange) parameter adjust the audio mix between the vocoded
audio at low levels and more of the original input audio from the modulator
when set to higher levels

The OP-1 Field Notebook : Reference & Guide 95

4 Synths
NOTES

Using the Vocoder

Vocoder uses an audio input as a modulator source. Typically this can be

the internal or an external microphone. However other options such as
using the internal radio can also be useful for experimentation and creative
sound design. In this example the Teenage Engineering M-1 Headset is
used which offers a fully integrated microphone and headphone option.

It is possible to use an external dynamic mic

connected to the input or use the internal mic

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

The TE M-1 Headset is an integrated Mic and

Headphones and connects with the TRRS Jack into
the OP-1 headset connection, normally audio out.

[Mic]
Select Audio Source.

Audio Input Options Threshold Gain

Source

0.0

OP- MIC 87.50 USB OUT-IN

TRIG

Turn (Blue) to select the audio input source. The

Input gain can also be adjusted using (Orange)

The vocoder operates with all audio input sources, Mic, Headset, FM Radio
and USB except the Out-In option. The Out-In should not be used when
using the vocoder as this would create an undesirable feedback loop.

96 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES

▌USING THE VOCODER

1. Choose the audio source i.e. internal Mic, or FM Radio. If an external

source is to be used I.e Mic, Headset or USB, connect this to the
appropriate OP-1F connection. Example: Plug the M-1 Headset into the
Audio Out Connection. The M-1 has an integrated Mic but still connects
with the TRRS jack to the headphone out. A dynamic mic would be
plugged into the audio In and USB to the USB-C connection.

2. Press [Mic] to open the audio source selection page.

3. Turn (Blue) to select the input, e.g. Headset, and if required adjust the
gain with the (Orange) knob to set the audio input level.

4. Hold [Shift] + [1] - [8] sound selection button. The browser will open in
order to choose a synth preset to assign to the button number 1-8
selected. The quick sound selection button number selected is
displayed top left on the browser page.

5. Turn (Blue) knob to select the vocoder synth engine.

6. To audition the vocoded sound the audio input i.e. the modulator signal
needs to be active. This would mean talking into the mic or triggering
any audio signal. In addition a note or chord will need to be played
simultaneously on the OP-1F Keyboard to trigger the carrier audio.

7. While auditioning the vocoded audio, the Vocoder parameters can be

set up and adjusted. This may be an iterative process to find the right
balance of settings.

• Turn (Blue) to set the waveforms applied. This ranges from a single
saw wave to noise. This changes the internal vocoder synth sound.

• Turn (Ochre) to adjust the band pass filter frequencies. These affect
formant harmonics and make the vocal higher or deeper in tone.

• Turn (Grey) to adjust the bands. A higher number of bands gives a

more vocally articulated sound while lower numbers are more
synthetic sounding.

• Turn (Orange) to adjust the mix between the original audio input
signal and the vocoded signal.

8. To save the settings as a preset hold [1] - [8] for 5 Seconds to save to
the preset to the SNAPSHOT folder.

The OP-1 Field Notebook : Reference & Guide 97

4 Synths
4.18 Synth Envelope NOTES

The synth envelope is accessed using the [T2] button after selecting and
loading a synth engine. The envelope in synth engine mode is a traditional
ADSR type envelope and controls the shape of the sounds amplitude over
a period of time. This can help create short percussive sounds to longer
drones and pads. An ADSR Envelope is made up of an Attack, Decay and
Release times plus a Sustain level.

[Synth]
Select Synth Mode

[T2]
I 2 3 4
Synth Engine Envelope

A D R
(Blue) (Ochre) (Orange) Time
Amplitude

Attack Time Decay Time Sustain Release Time

S
(Grey)

Synth Mode Envelope Control Knobs

Blue Ochre Grey Orange

Attack Time Decay Time Sustain Level Release Time

Time to reach the full The decay time from The level of the sound Release time is the
level from the initial reaching the full level while the note fade out time of the
note on sound trigger to settling at the continues to be held sound once the note is
sustain level. released.

98 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES 4.19 Play Modes
Play mode determines the behaviour of the synth engine sound playback.
Access to play mode is from the synth envelope page. Polyphonic,
Monophonic, Legato or Unison are options. Options for Portamento, Bend
Range and Volume are also available.

[Synth] [T2] Envelope I 2 3 4

Select Synth Mode Synth Engine Envelope

[Shift] Play Mode

To access the Play Mode

PLAY MODE POLY

PORTAMENTO 2
BEND RANGE OCTAVE
VOLUME 60

Play Mode Control Knobs

Blue Ochre Grey Orange

Play Mode Portamento Bend Range Volume

Options are Portamento time. Sets the bend function Set the synth engine
Polyphonic, Options are Off, 1-127, range. Set to 1-7 volume level.
Monophonic, Legato and Max. Glide time Semitones or set to
and Unison. between note to note. 1 Octave.

The OP-1 Field Notebook : Reference & Guide 99

4 Synths
NOTES

Play Modes

Note style for synth tracks has 4 available settings.

• Poly: Polyphonic enables the playing and sequencing of multiple

notes simultaneously. For example 3 notes can be played together
making up a chord.

• Mono: Monophonic plays out a single sound triggered from the

keyboard or the sequencer in mono. One note can be played and
sequenced. New notes played will take over the current note.

• Legato: Plays notes with smooth transitions between each note.

Provides a smoother transition and less plucky.

• Unison: Plays a note as if multiple notes of the same value were

layered together.

Mono

Poly

Legato

Unison

Portamento

Portamento adds glide between the previous and current notes. This can
be set to off. A setting of 1 means very small portamento is present while
maximum setting provides a slow glide between sounds. Values in between
adjust the glide time.

100 The OP-1 Field Notebook : Reference & Guide

 Synths 4
NOTES 4.20 Note Bend
Many synthesizers and controllers have a pitch bend option, usually as a
dedicated modulation control. Synths can be controlled with pitched bend
in the OP-1F by using [Shift] + [Left] or [Right]. The setting is found in the
Play Mode menu.

While playing a note Shift

Hold [Shift] + Press [Left] or [Right]

The range of the pitch bend is set in the play mode parameters. This can
be set between 1-7 Semitones or up to 1 Octave.

C
D

The OP-1 Field Notebook : Reference & Guide 101

 NOTES

102 The OP-1 Field Notebook : Reference & Guide

 5
FX & Modulation
The effects and modulation features really effect configurations. Some of the terminology
bring the OP-1F to life, enhancing the creative can be confusing when using the effects,
features with an almost infinite range of however they are actually straight forward and
options. The funky and less than conventional very simple once you become familiar. A source
style of these effects stay true to the traditions is usually the element that would generate a
of the Teenage Engineering device. These changing signal and therefore the generation of
functions make the OP-1F unique for sound the modulation. For example the accelerometer,
design and music creation. The FX elements an internal LFO or even the mic or radio input.
are used in 2 main areas. Firstly within the Destination would be the overall function to be
sound engines (synth or drum) and secondly in modulated. The specific parameter to modulate
the main output FX slot. The FX are selected is set as the destination function and the choices
from the drum or synth page for the respective here depend on the sound engine and effects
sound engine and from the mixer page for chosen. This is where movement and variation
main output. The modulation option in the to sounds can be developed. It is important to
sound engines is generated from a low note that the OP-1F allows MIDI as a modulation
frequency oscillator (LFO), which comes in source. Control of the OP-1F parameters by
various guises. The OP-1F also contains an MIDI has some limitations as MIDI CC input
internal accelerometer. This sensor measures messages cannot directly access the OP-1F
the physical X-Y-Z orientation of the device parameters. This operates using a MIDI LFO
which then can be used as a modulation which enables 4 Continuous Control Change,
source. This function is named G-Force within also called CC messages to be interfaced to the
the OP-1F unit and can be used within multiple OP-1F using the LFO modulation system.

The OP-1 Field Notebook : Reference & Guide 103

5 FX & Modulation
5.1 Effects Overview
To get a good understanding of how the Effects, also called FX and the modulation works, it is good
to firstly understand the routing and signal flow of the OP-1F. Access to the FX is via [T3] and LFO
[T4] when in synth, drum or mixer modes and the currently active signal flow illustration can also be
displayed on the screen by selecting [Shift] + [Mixer] on the OP-1F. Only one effect and one LFO
can be applied per engine and one effect in the master output.

Keyboard Sequencer

Sound Engine
(Synth / Drum)

[T4] LFO

FX [T3] Accessible from the Synth or Drum Page

Tape

Mixer [T1]

EQ [T2]

FX [T3] Accessible from Mixer Page

Drive [T4]

104 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.2 Using Effects

▌SELECTING SYNTH / DRUM MODE EFFECT

1. Press [Synth] or [Drum]. Synth or Drum mode is selected, the initial

page selected by [T1] will show the synth engine parameters and
settings for the selected engine and [T2] will select the envelope.

2. Press [T3] to open the engine FX page. Press [T3] to toggle the effect
on/off. The effects settings are saved in the preset for the engine.

3. Hold [Shift] + [T3] to open the FX browser. This is where an effect can
be selected and loaded to the slot for the engine. Parameters will be
specific to the effect type selected.

4. Turn (Blue) to navigate and Press [T3] to select and apply the effect.

▌SELECTING SYNTH / DRUM MODE LFO

1. Press [Synth] or [Drum]. Synth or Drum mode is selected, the initial

page selected by [T1] will show the synth engine parameters and
settings for the selected engine and [T2] will select the envelope.

2. Press [T4] to open the engine LFO page. Press [T4] to toggle the LFO
on/off. The LFO settings are saved in the preset for the engine.

3. Hold [Shift] + [T4] to open the LFO browser. This is where the LFO
type can be selected and changed in the slot for the engine.

4. Turn (Blue) to navigate and Press [T4] to select and apply the LFO.

▌SELECTING MASTER OUTPUT EFFECT

1. Press [Mixer]. Mixer mode is selected, the initial page selected by [T1]
will show the parameters and settings 4 Track mixer and [T2] will
select the EQ.

2. Press [T3] to open the engine FX page. Press [T3] to toggle the effect
on/off. The effects settings are saved in the preset for the engine.

3. Hold [Shift] + [T3] to open the FX browser.

4. Turn (Blue) to navigate and Press [T3] to select and apply the effect.

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5 FX & Modulation
5.3 CWO Effect NOTES

CWO or COW at first glance appears to be a crazy and wild function. At its
core CWO is a delay effect. In addition a frequency shifter is integrated into
the feedback loop of the delay. This is great for arcade and formant style
effects and adding energy to a sound.

Frequency shifting is more linear than pitch shifting and creates pitched up
and pitched down sidebands. The sideband control allows mixing between
the shifted sidebands.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] CWO Effect Page & to Set On/Off

Delay Frequency Feedback Sideband

FREQ FEEDBACK

46
DELAY SIDEBAND

40

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

CWO Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Frequency Delay Feedback Sideband

Amount of frequency Adjusts the delay time. Amount of delay ‘out Adjusts the sideband
shifting applied. to in’ feedback. Also audio level.
Operates in the feedback loop
conjunction with includes a frequency
sideband setting. shifting algorithm

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

106 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.4 Delay Effect
The Delay effect is a more familiar solid state delay algorithm. The amount
of both the delayed audio fed back and unaffected audio input to the
algorithm can be adjusted. Range and Speed both affect the delay time.
Consider these two parameters similar to delay multipliers where they
operate together to set delay times and develop sound effects.

Generic delay effects work on the principle of feeding back the output audio
signal back into the input model to generate repeated echoes.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Delay Effect Page & to Set On/Off

Speed Range Feedback Input

RANGE FEEDBACK

48
I26 MS

SPEED INPUT

24

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Delay Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Range Speed Feedback Input

Delay time. Operates Delay time multiplier. Amount of the delay Level of the original
in conjunction with Longer times are set loop signal is fed back audio fed into the
speed. with a lower value. ‘out to in’ to the delay delay line.
line. This adjusts the
echo / repeats.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

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5 FX & Modulation
5.5 Grid Effect NOTES

Grid is a 3-Dimensional delay model using a series of virtual X-Y spaces.

This is a less traditional delay giving harsh tones and appears to operate
with some additional modulation or comb filtering under the hood.

Note that the algorithm will self oscillate with higher parameter settings.
This effect is generally useful for lo-fi sounds and experimental delays.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Grid Effect Page & to Set On/Off

X Size Y Size Z Feedback Mix

FEEDBACK

Y 44
MIX
Z

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Grid Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

X Size Y Size Z Feedback Mix

Applies additional Adjusts the delay time Amount of delay ‘out Dry unaffected signal
effect processing and in a unique creative to in’ feedback. Sets at lower levels and /
modulation pre-delay and pitch neutral way. the delay line duration. Wet affected signal at
as well as pitch higher settings.
influenced delay time.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

108 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.6 Mother Effect
Mother is a gated reverb effect. A generic reverb effect emulates room
spaces and the reverberant nature of how sound reflects and is absorbed.
As always, the OP-1F applies this an a unique and inspirational way.

Terminology in Mother seems a little confusing but it can be assumed

distance relates to reverb size and color affects the frequency filtering.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Mother Effect Page & to Set On/Off

Distance Gate Color Mix

DISTANCE

52
MIX

GATE

COLOR

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Mother Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Distance Gate Color Mix

Emulates the room Sets the gate applied Adjusts the filter cutoff Dry / Wet mix between
size and distance to cut off the reverb tail frequency of the the original unaffected
between listener and when the note is reverb. and the reverb sound
source. Affects length released.
of reverberations.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

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5 FX & Modulation
5.7 Nitro Effect NOTES

Nitro is described as a dual resonant turbo filter. It consists of both a low

pass and high pass filter with a common resonance parameter which
boosts the frequency at the cutoff point. The envelope follower controls
frequencies based on the audio level.

A generic filter attenuates frequencies across the range, typically between

20Hz-20KHz. This can change the tone and sound overall.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Nitro Effect Page & to Set On/Off

Filter Follow Frequency Feedback Frequency

LOWS HIGHS

Q
L R

FREQ FOLLOW

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Grid Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Frequency Lows Filter Follow Feedback Frequency Highs

High pass filter cutoff Envelope follower Common resonance Low pass filter cutoff
frequency. Attenuates controlling Low/High function for both filters. frequency. Attenuates
the low frequency frequencies based on Also called ‘Q’. the High frequency
content volume level. content

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

110 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.8 Phone Effect
Phone effect is a buffered glitch type of effect described as a hacked
telephone system. This description nor the telecommunications parameter
names don’t help describe what it actually does. But we are used to the TE
mystery right? Think of Phone as a granular effect.

Phone is particularly useful for short and percussive sound mangling and
experimentation and operates at a granular level, pitch shifting audio.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Phone Effect Page & to Set On/Off

GSM Tone Baud Telemetry

TONE BAUD
O31

42
B

GSM T TELEMETRY

34 48
GSM T

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Mother Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Tone GSM Baud Telemetry

Adjusts the pitch Grain size of the Pattern and timing of Dry / Wet mix between
variation of the chopped audio in the glitched grain the original unaffected
granular audio glitched buffer. playback. and the glitched sound

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

The OP-1 Field Notebook : Reference & Guide 111

5 FX & Modulation
5.9 Punch Effect NOTES

Punch is low pass, hard hitting filter. Although defined as a low pass
resonant filter, punch also has characteristics similar to a compressor
making it a useful tool to glue a final mix of tracks.

A generic filter slope is what determines how aggressive or smooth it

operates. This is determined as dB / Oct or number of poles but is set at
various levels in Punch using the rounds parameter.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Punch Effect Page & to Set On/Off

Punch Frequency Rounds Power

FREQ ROUNDS

20
PUNCH POWER

45 84

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Grid Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Frequency Punch Rounds Power

Low pass filter cutoff Introduces resonance Filter shape. Adjusts Dry / Wet mix between
frequency. Attenuates also maybe adds how aggressive or the unaffected and
the higher frequency some compression shallow the slope is. filtered audio
content. characteristics.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

112 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.10 Spring Effect
The OP-1F spring reverb is a mathematical representation of the classic
reverb type used to emulate reflections in a room space and built with a
physical set of mechanical springs. Spring reverb room emulations are not
fully accurate but give a darker and metallic character to the audio.

The Spring effect emulates the classic reverbs in its parameter structure.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Spring Effect Page & to Set On/Off

Damping Tone Turns Mix

TURNS

L
TONE MIX
R

DAMPING

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Mother Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Tone Turns Damping Mix

Adjusts the high and Emulates the room Softens and reduces Mix of reverb effect
low frequency content. size and hence the decay of the included in the overall
Emulates the darker amount of reverb. reverb tail. sound output.
spring characteristics. Introduces a metallic
character and decay.

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

The OP-1 Field Notebook : Reference & Guide 113

5 FX & Modulation
5.11 Terminal Effect NOTES

Terminal is a lo-fi effect with sample rate and bit reduction features as well
as an integrated low pass and high pass filter.

The ability to balance the dry and wet audio signal is provided.

[Synth] or [Drum] or [Mixer]

Select Mode.

[Shift] + [T3] Select Effect

I 2 3 4
[T3] Terminal Effect Page & to Set On/Off

Bits KHZ Model Mix

KHZ MODEL

3.8 2.2
PTE
BITS MIX

4.0

Turn (Knob) to adjust and Hold [Shift] + Turn (Knob)

for fine parameter adjustments.

Grid Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Sample Rate Bit Rate Model - Filter Mix

Adjusts the sample Controls bit rate Filter function high Dry / Wet mix between
rate applied to the reduction adding to pass pass below 3 the unaffected and the
audio. the Lo-Fi effect. and low pass above 3. lo-fi affected audio

The parameters are not mutually exclusive but interact and combine together to perform unique and
interesting sounds. In addition many of the parameters operate in a non-linear fashion, with
variations applied across the parameter range. Descriptions given are therefore based on observed
behaviour rather than TE technical design insights.

114 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.12 LFO Modulation Introduction
Modulation is the process of manipulating a parameter to add movement,
and character. An LFO is a Low Frequency Oscillator that generally doesn't
generate sound in the audible spectrum but is used to affect another
parameter adding interesting and variation to a sound. In the OP-1F a LFO
Model is used as well as other sources to drive modulation of various
destinations. The OP-1F affects parameters are particularly interesting
targets to modulate.

The modulation ‘SOURCE’ is an element that affects the

value of another parameter. Sources in the OP-1F include
SOURCE an internal LFO, FM Radio, Microphone, External source
or the G Force Accelerometer.

The ‘DESTINATION’ is the target element to be modulated

DESTINATION and consists of a Synth or Drum engine or an FX module
as well as it’s specific parameter in the LFO model.

LFO’s contain a number of adjustable parameters. For

PARAMETERS example some include an envelope to shape the sound.
The OP-1F has 7 internal LFO’s.

▌SELECTING AN LFO WHEN USING A SYNTH / DRUM ENGINE

1. Select a Drum or Synth Engine.

2. Press [T4] to open the LFO Page.

3. Pressing [T4] also toggles the LFO On/Off.

4. Press [Shift] + [T4] to open the LFO Model browser.

5. Turn (Blue) to navigate the available LFO Models. Highlight the desired
LFO Option to select.

6. Press [T4] or the (Blue) knob to select and load to the FX slot.

The OP-1 Field Notebook : Reference & Guide 115

5 FX & Modulation
NOTES

LFO Types

LFO Features

Random Internally generates a continuous, random modulation shape

Element Uses an external or internal discrete source for modulation

Accepts incoming MIDI CC - Continuous Control Change

MIDI
messages to control the designated parameters

Tremolo Modulates the pitch and volume

Select from one of four LFO shapes to operate as the

Value
modulation source
Uses the keyboard’s velocity to act as the modulation source.
Velocity
Ideal with an external MIDI controller with more precise velocity.

Typical Workflow S

1 Select Synth or Drum Engine

2 Select LFO Required

Random LFO
Element LFO
MIDI LFO
Tremolo LFO
Value LFO
Velocity LFO

3 Set up Modulation SOURCE

4 Set up the Modulation DESTINATION

Set Up Destination PARAMETER

5 Destination Specific Parameter (set by colour)

6 Adjust Speed / Values

7 Monitor the audible and visually displayed results

116 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.13 LFO Concepts
The basic principle of an LFO requires the setting up of a modulation
source, targeted to a destination function and its specific parameter to
modulate. The available parameters and options are dependant on the
LFO Type and destination selected.
name

30

SOURCE AMOUNT DESTINATION PARAMETER

The source controls or Amount of modulation The target destination Specific parameter
modulates the selected that will effect the function containing the that will be modulated
destination parameter destination parameter parameter to modulate by the source.

Options Range: -100 00 +100 Options Options

SUM Synth Various

The source is a The synth engine Options per function.
combination all of the function as the target The parameter name
audio channeled to the destination. appears in the display.
master output.

Envelope Drum All

Shapes the sound over The drum engine All of the parameters
a time period. function as the target for the selected function
destination. can also be selected.

G G-Force FX Effects
Source is the G-Force The FX function as the
accelerometer, using target destination.
physical movement of
the OP-1F.

Audio Input Pitch & Vol

External audio input as Pitch and Volume level
the source. To select as the destination
the input option: function to modulate.
Hold [Shift] + [Mic].

Microphone Envelope
The envelope as the
FM Radio target destination
function to modulate.
USB Audio
Attack Decay Env or
Headset a defined Env shape.

3.5mm Line Input

Some sources are Sin Squ

integral to the source.

2 Blip Saw Exp

The OP-1 Field Notebook : Reference & Guide 117

5 FX & Modulation
5.14 LFO General Conventions NOTES

The LFO controls follow a general convention although most of the specific
functions will be determined by the LFO Type plus the available Source
and Destinations for the LFO Type. These specifics are described in each
discrete LFO section.

[Synth] or [Drum]
Select Mode.

[Shift] + [T4] Select LFO

I 2 3 4
[T4] Select LFO Page & to Set On/Off

Source Amount Destination Parameter

FILTER

30
SOURCE AMOUNT DEST PARAMETER

Turn (Knob) to adjust the value or [Shift] + Turn for

finer adjustments. Press a (Knob) to also cycle
through any available, selectable options.

LFO Knobs
Turn Blue Turn Ochre Turn Grey Turn Orange

Source Amount Destination Parameter

Turn to select a Turn to change the Turn to select the Turn to assign the
modulation source amount of modulation destination function. target parameter to
option. Only available applied to the Typically represented control. This will be a
options are presented destination when by an associated drum parameter contained
and changed when turned. Range / synth engine, within the destination
turning. operates -100 to +100 envelope or effect. function selected.

Tap Blue Tap Ochre Tap Grey Tap Orange

Source Amount Destination Parameter

Cycles the modulation Tap to select Cycles through the Cycle through the
source option destination function assigned the target
selected. Only selection. Typically parameter to control.
available options are represented by an This will be a
presented. associated drum / parameter contained
synth engine, within the destination
envelope or effect. function selected.

Some LFO Types require the parameter to be selected. The selection between objects is also
performed by tapping a control knob within certain LFO pages.

118 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.15 Value LFO
The simplest LFO type to apply is the Value LFO. This basically offers 4
LFO shape options as the source which can be used to apply to a
destination function for the synth and drum engines and the designated
effects and specifically to a defined parameter within.

[Shift] + [T4] to Select LFO

[T4] Value LFO Page. Press to Set On/Off AMPERE

8 22
I 2 3 4
SPEED AMOUNT DEST PARAMETER

SHAPE

SOURCE AMOUNT DESTINATION PARAMETER

The source controls or Amount of modulation The target destination Specific parameter
modulates the selected that will effect the function containing the that will be modulated
destination parameter destination parameter parameter to modulate by the source.

CUTOFF

8 30
SHIFT
SPEED AMOUNT DEST PARAMETER

SHAPE

The Value LFO is useful for basic and quick starts on modulating a
parameter using familiar wave shapes and with options for synchronised or
unsynchronised modulation speed control and also the wave cycle.

The OP-1 Field Notebook : Reference & Guide 119

5 FX & Modulation
NOTES

The parameter configurations and options are explained in more detail. The
Source and Destination particularly are specific to the Value LFO.

Source Options

The Value LFO Source options are available by turning or pressing the (Blue) knob

LFO Shape - Tap (Blue)

Selects one of the 4 LFO oscillator shapes. Selected shape icon is indicated above the source.

Shape Options: Square Ramp Saw Sine

Press (Blue) to Cycle through the shapes.

LFO Speed - Turn (Blue)

Selects the LFO speed, synchronised to tempo or independent. Finely adjust using [Shift] + (Blue)

8 7 6 5 4 3 2 1

Speed x Tempo Independent Speed

Turn (Blue) to set the LFO Speed.

Use [Shift] + (Blue) to finely adjust.

Amount Options

The amount of modulation applied is bi-directional, set by turning the (Ochre) knob

Modulation Amount - Turn (Ochre)

The strength of modulation is affected by the LFO amount. The range is -100 to + 100.

Modulation Applied Inversely Modulation Applied Positively

+100
00
-100

Turn (Ochre) to set the LFO Amount of the source applied to the destination.
Use [Shift] + (Ochre) to finely adjust.

120 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES

Destination Options

The destination options, as located into the 3 other [Tx] pages; Engine, Envelope, FX.

Destination Function - Tap or Turn (Grey)

Cycles and selects one of the available destinations i.e. Synth/Drum Engine, Envelope, Effect.

Destination Options: Synth Drum Envelope Effects

Sync to Tempo. FX

Free Running. FX
FREE FREE FREE FREE

Press or Turn (Grey) to Cycle through the destination options.

Example: Sine Wave Source Shape

Synchronised to tempo will Sync

always trigger from ‘note on’ at LFO restarts at ‘Note On’
the start of the cycle
Note On

Free running will always trigger Free

at whatever the current cycle LFO continuously runs
position is at the ‘note on’
Note On

Parameter Options

Up to 8 parameter options are available based on the destination function selected.

Destination Parameter - Tap or Turn (Orange)

To select the parameter associated with the destination function.

Parameter Name Displayed

1 CROSSFADE CUTOFF 5

2 6

3 7
SHIFT
4 PARAMETER PARAMETER 8

Up to 8 Parameters assigned to the destination function knobs.

The default 4 parameters plus any shifted parameters, if available.

Press or Turn (Orange) to Cycle through the available Parameters

The OP-1 Field Notebook : Reference & Guide 121

5 FX & Modulation
NOTES

To demonstrate the application of the Value LFO a walkthrough example is

provided. The selected destination illustrates the value LFO functions well.

▌VALUE LFO APPLICATION

1. Select the Dimension Synth Engine. Hold [Shift] + [T1], Turn (Blue). Set
the Waveform to the central position using (Blue) i.e. square and saw.

2. Hold [Shift] + [T4] to open the LFO browser. Turn (Blue) to highlight the
Value LFO. Press [T4] to select and open the LFO Page. The [T4]
button also toggles the LFO On or Off.

3. Select the destination, in this example the synth engine. Press (Grey)
until the synth symbol is displayed. At this stage use the default
synchronised not the ‘FREE’ running mode.

4. Set the LFO Speed. Turn (Blue) until the figure ‘1’ is displayed.

5. Set the destination parameter, in this example set to blue knob ‘WAVE’
parameter to modulate the waveform. Dimension has 4 parameters.

6. Set amount. Turn (Ochre) to adjust the amount. Play a note to audition.

• Amount = 00. When pressing a note, no modulation will be

observed in the dimension synth page for the waveform selection.

• Amount = +100. When pressing a note, modulation across the full

range of waveforms, starting in an upward positive direction will be
observed in the dimension synth page.

• Amount = -100. When pressing a note, modulation across the full

range of waveforms, starting in a downward negative direction will
be observed in the dimension synth page.

• Amount = +20. When pressing a note, modulation will be observed

starting upwards in the dimension synth page for the waveform
selection across a narrower range of waves.

7. Adjust the LFO Speed to demonstrate the behaviour with respect to the
current tempo setting.

8. Set the LFO Destination to the ‘FREE’ option. Now any note on / key
press will trigger the note using the wave currently selected by the free
running LFO and not start at the same position in the waveforms

9. The synth envelope will determine the length of the trigger and LFO.

122 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.16 Element LFO
The Element LFO type is similar to the Value LFO apart from the source,
which in the case of Element, allows sources generated externally to
connect to the LFO module itself. This basically offers a range of creative
modulation options using some unusual sources.

[Shift] + [T4] to Select LFO

[T4] Element LFO Page. Press to Set On/Off FILTER

30
I 2 3 4
SOURCE AMOUNT DEST PARAMETER

SOURCE AMOUNT DESTINATION PARAMETER

The source controls or Amount of modulation The target destination Specific parameter
modulates the selected that will effect the function containing the that will be modulated
destination parameter destination parameter parameter to modulate by the source.

ATTACK

G 100
SPEED AMOUNT DEST PARAMETER

The Element LFO offers a more creative and experimental option for
modulating a parameter using less familiar wave shape sources. This
includes the internal G-Force Accelerometer, Mic or Audio inputs, the
internal envelope and even the FM Radio.

Destinations also include both pitch + volume as well as the usual

envelope, loaded synth / drum engine or selected effect.

The OP-1 Field Notebook : Reference & Guide 123

5 FX & Modulation
NOTES

The parameter configurations and options are explained in more detail. The
Source and Destination options are specific to the Element LFO.

Source Options

The Element LFO Source options are available by turning or pressing the (Blue) knob

LFO Source - Tap or Turn (Blue)

Selects one of the available / connected external LFO sources to act as the modulation shape.

Source Options: Mic Envelope G-Force Main Out

G SUM

Press (Blue) to Cycle through the shape sources.

Input Options: Mic FM Radio USB Headset Line In

Press [Shift] + [Mic] to select the external audio when selecting the
‘Mic’ option in the Element LFO. Only connected options available.

Amount Options

The amount of modulation applied is bi-directional, set by turning the (Ochre) knob

Modulation Amount - Turn (Ochre)

The strength of modulation is affected by the LFO amount. The range is -100 to + 100.

Modulation Applied Inversely Modulation Applied Positively

+100
00
-100

Turn (Ochre) to set the LFO Amount of source applied to the destination.
Use [Shift] + (Ochre) to finely adjust.

124 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES

Destination Options

The destination options, as located into the 3 other [Tx] pages; Engine, Envelope, FX.

Destination Function - Tap or Turn (Grey)

Cycles and selects one of the available destinations i.e. Synth/Drum Engine, Envelope, Effect.

Destinations: Synth Drum Envelope Effects Vol/Pitch

FX

Press or Turn (Grey) to Cycle through the destination options.

Parameter Options

Up to 8 parameter options are available based on the destination function selected.

Destination Parameter - Tap or Turn (Orange)

To select the parameter associated with the destination function.

Parameter Name Displayed

1 CROSSFADE CUTOFF 5

2 6

3 7
SHIFT
4 PARAMETER PARAMETER 8

Up to 8 Parameters assigned to the destination function knobs.

The default 4 parameters plus any shifted parameters, if available.

Press or Turn (Orange) to Cycle through the available Parameters

Selecting Vol/Pitch destination offers number of master output parameter options.

Volume
Destination

Parameter

Pitch

Pan

The OP-1 Field Notebook : Reference & Guide 125

5 FX & Modulation
NOTES

To demonstrate the application of the Element LFO a walkthrough example

is provided. The selected destination illustrates the element functions well.

▌ELEMENT LFO APPLICATION

1. Hold [Shift] + [T4] to open the LFO browser. Turn (Blue) to highlight the
Element LFO. Press [T4] to select and open the LFO Page. The [T4]
button also toggles the LFO On or Off.

2. Select the destination, in this example the envelope. Press (Grey) until
the envelope symbol is displayed.

3. Select the envelope page. Press [T2]. Adjust the ADSR settings to a
medium attack, short decay, medium sustain and medium release.

4. Set the LFO Source. Turn (Blue) until ‘G’ is displayed. This selects the
on board accelerometer.

5. Tap (orange) to set the destination parameter, in this example set to the
destinations blue knob i.e. ‘ATTACK’ parameter to modulate the
envelope attack time. An envelope has 4 parameters.

6. Set amount. Turn (Ochre) to adjust the amount. Play a note to audition
and test various amount settings. Start at +100.

7. Play a note and tilt the OP-1F physically from a flat position, upwards to
a vertical position. Try various movements to modulate the attack time.
The accelerometer will affect the destination parameter.

8. Try adjusting the envelope settings to experiment with different sound

movement. Also try changing the amount to change the behaviour.

9. Audio sources make interesting modulation source. Select the ‘Mic’

option as the source then use [Shift] + [Mic] to select which audio input
to select. Some inputs will need to be connected i.e. Line In. Press
[Mic] to return to the LFO Page or to toggle audio On/Off. Play a note to
visualise the impact on the destination parameter.

10. Many other interesting options are available including the envelope as
source and destination, the main audio output as a source and master
volume, pan or pitch as a destination.

126 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.17 Random LFO
The Random LFO type generates a random and continuous oscillator
shape as the source. Random also contains its own envelope and can
modulate multiple parameters simultaneously.

[Shift] + [T4] to Select LFO

[T4] Random LFO Page. Press to Set On/Off AMPERE

8 22
I 2 3 4
SPEED AMOUNT
PARAM
ENVELOPE

SPEED AMOUNT DESTINATION PARAMETER

Controls speed of Amount of modulation The target destination Specific parameter
modulation for the that will effect the function containing the that will be modulated
source LFO destination parameter parameter to modulate by the source.

ATTACK

8 22
SPEED AMOUNT
PARAM

ENVELOPE

ENVELOPE
The AD envelope used
to control the fade in or
out of the modulation

The Random LFO offers a creative option with an unpredictable modulation

source and ability to target one or all parameters of the destination
function. The amount controlling how much modulation is generated.

The Random LFO also has its own Attack / Decay envelope which controls
how the modulation fades in i.e. ramps up modulation from note on or
fades out i.e. ramps down modulation after the initial note on period.

The OP-1 Field Notebook : Reference & Guide 127

5 FX & Modulation
NOTES

The parameter configurations and options are explained in more detail.

Many options are specific to the Random LFO.

Speed Options

The LFO Source is automatically generated at note on. The (Blue) knob controls speed.

LFO Speed - Turn (Blue)

Selects the LFO speed, synchronised to tempo or independent. Finely adjust using [Shift] + (Blue)

8 7 6 5 4 3 2 1

Speed x Tempo Independent Speed

Turn (Blue) to set the LFO Speed.

Use [Shift] + (Blue) to finely adjust.

Amount Options

The amount of modulation generated, set by turning the (Ochre) knob

Modulation Amount - Turn (Ochre)

The strength of modulation is affected by the LFO amount. The range is 0 to + 100.

Amount of Modulation Generated

+100
00

Turn (Ochre) to set the LFO Amount generated at the destination.

Use [Shift] + (Ochre) to finely adjust.

Destination Options

The destination options, as located into the 3 [Tx] pages; Engine, Envelope, FX.

Destination Function - Tap or Turn (Grey)

Cycles and selects one of the available destinations i.e. Synth/Drum Engine, Envelope, Effect.

Destinations: Synth Drum Envelope Effects Vol/Pitch

FX

Press or Turn (Grey) to Cycle through the destination options.

128 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES

Envelope Options

The AD envelope controls the fade in or fade out of the modulation applied at the destination.

Modulation Envelope - Turn (Orange)

The attack - fade in is adjusted over the 0-50% range and the decay over the 50-100% range

Attack Decay

Turn (Orange) to set the Envelope Fade In or Fade Out.

Use [Shift] + (Orange) to finely adjust.

Parameter Options

The 8 individual or all 8 parameters are available for the destination function selected.

Destination Parameter - Tap (Orange)

To select the parameter or all parameters associated with the destination function.

Parameter Name Displayed

1 ALL CUTOFF 5

2 6

3 7
SHIFT
4 8
PARAM

All 4 main or individual parameters assigned to the destination function knobs.

Press (Orange) to Cycle through the available Parameters

Selecting Vol/Pitch destination offers number of master output parameter options.

Volume
Destination

Parameter

Pitch

Pan

The OP-1 Field Notebook : Reference & Guide 129

5 FX & Modulation
NOTES

To demonstrate the application of the Random LFO a walkthrough example

is provided with all destination options to illustrates the random functions.

▌RANDOM LFO APPLICATION

1. Select the Phase Synth Engine. Hold [Shift] + [T1], Turn (Blue). Set the
parameters to suit.

2. Hold [Shift] + [T4] to open the LFO browser. Turn (Blue) to highlight the
Random LFO. Press [T4] to select and open the LFO Page. The [T4]
button also toggles the LFO On or Off.

3. Select the destination, in this example the synth. Press (Grey) until the
Synth symbol is displayed.

4. Set the LFO Source Speed. Turn (Blue) until ‘6’ is displayed. This
selects a medium tempo synchronised speed.

5. Set modulation amount. Turn (Ochre) to adjust the amount. Play a note
to audition and test various amount settings. Start at 100.

6. Set the modulation parameter destination. This should be set to all 4

parameters, described as ‘ALL’. Press (Orange) to change.

7. Set the modulation envelope to off. This should be an horizontally flat

line. This is adjusted by Turning (Orange)

8. Audition the sound by pressing a key and observing the Synth

parameters in page [T1].

9. Try adjusting the settings while auditioning;

• Adjust the Envelope. This fades in or out the modulation using an

Attack and Decay envelope. With Attack a ‘Note On’ will ramp up
the modulation and using Decay the modulation will fade out after
‘Note On’.

• Adjust the Amount will vary the amount of modulation generated.

This ranges from 0-100.

• Try changing the Speed adjustment. This affects the speed of the
modulation generated.

• Try also adjusting the destination parameters manually.

130 The OP-1 Field Notebook : Reference & Guide

 FX & Modulation 5
NOTES 5.18 Tremolo LFO
The Tremolo LFO type is specifically focussed on two pre-defined
destination parameters. The pitch and volume are modulated in order to
create a series of Tremolo effects.

[Shift] + [T4] to Select LFO

[T4] Tremolo LFO Page. Press to Set On/Off
00
AMOUNT ENVELOPE DEST
I 2 3 4
SPEED
00

SPEED AMOUNT ENVELOPE PARAMETER

Controls speed of Amount of modulation The AD envelope used Pre-defined, pitch
modulation for the that will effect the pitch to control the fade in or destination to be
source LFO destination parameter out of the modulation modulated

42
8 AMOUNT ENVELOPE DEST

SPEED 23

AMOUNT SHAPE PARAMETER

Amount of modulation The modulation wave Pre-defined, volume
that will effect the vol shape for the destination to be
destination parameter destination parameter modulated

The Tremolo LFO has a parallel flow where both the main pitch and volume
are controlled with individual modulation amounts to create a tremolo
effect. The LFO operates with a common speed, envelope and wave shape
settings for both the pitch and the volume.

The OP-1 Field Notebook : Reference & Guide 131

5 FX & Modulation
NOTES

The parameter configurations and options are explained in more detail.

Many options are specific to the Tremolo LFO.

Speed Options

The LFO Source speed is controlled by the (Blue) knob.

LFO Speed - Turn (Blue)

Selects the LFO speed, synchronised to tempo or independent. Finely adjust using [Shift] + (Blue)

8 7 6 5 4 3 2 1

Speed x Tempo Independent Speed

Turn (Blue) to set the LFO Speed.

Use [Shift] + (Blue) to finely adjust.

Amount Options

The amount of modulation set for each of the Pitch and Volume destinations

Modulation Amount. Pitch - Turn (Ochre) : Volume - Turn (Grey)

The strength of modulation is affected by the LFO amount. The range is -100 to + 100.

Modulation Applied Inversely Modulation Applied Positively

+100
00
-100

Turn (Ochre) for Pitch / (Grey) for Volume amount of source applied.
Use [Shift] + (Ochre) or (Grey) to finely adjust.

Pitch Volume

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 FX & Modulation 5
NOTES

Envelope Options

Pitch Envelope

The AD envelope controls the modulation fade in / out applied to both Pitch and Volume.

Modulation Envelope - Turn (Orange)

The attack - fade in is adjusted over the 0-50% range and the decay over the 50-100% range

Attack Decay

Turn (Orange) to set the Envelope Fade In or Fade Out.

Use [Shift] + (Orange) to finely adjust.

Volume Wave shape

The Wave shape of the Pitch and Volume modulation source can be selected.

Modulation Wave Shape - Hold [Shift] + Turn (Orange)

The LFO source shape can be selected from 1 of 5 specific tremolo shapes

Sine Saw Exp Square Blip

Hold [Shift] + Turn (Orange) to set the wave shape

Parameter Options

The destination options are fixed as Pitch and Volume for the Tremelo Effect.

Fixed Destinations: Pitch Volume

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5 FX & Modulation
NOTES

To demonstrate the application of the Tremelo LFO a walkthrough example

is provided. The destination is fixed for main pitch and volume.

▌TREMOLO LFO APPLICATION

1. Hold [Shift] + [T4] to open the LFO browser. Turn (Blue) to highlight the
Tremolo LFO. Press [T4] to select and open the LFO Page. The [T4]
button also toggles the LFO On or Off.

2. Set the LFO Source Speed. Turn (Blue) until ‘4’ is displayed. This
selects a medium tempo synchronised speed.

3. Set Pitch modulation amount. Turn (Ochre) to adjust the amount. Play a
note to audition and test various amount settings. Start at 60.

4. Set the common modulation waveform type for both the Pitch and
Volume destination. Hold [Shift] + Turn (Orange). Select the Sine wave.

5. Set the modulation envelope initially to a horizontally flat line. This is

adjusted by Turning (Orange).

6. At this point the pitch should be modulated when a note is pressed.

7. Apply modulation to the volume destination. Turn (Grey) to adjust the

amount. Play a note to audition and test various amount settings. Start
at 60.

8. Try experimenting with settings:-

• Adjust the Envelope. This fades in or out the modulation using an

Attack and Decay envelope. With Attack a ‘Note On’ will ramp up
the modulation and using Decay the modulation will fade out after
‘Note On’. Turn (Orange) to change.

• Adjust the Amount will vary the amount of modulation generated.

This ranges from -100 to +100.

• Try changing the Speed adjustment. This affects the speed of the
modulation generated for both destinations.

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 FX & Modulation 5
NOTES 5.19 Velocity LFO
The Velocity LFO type takes keyboard note velocity values and applies
them to the volume level and also to a configurable destination parameter.
The incoming velocity is displayed in the Velocity LFO Page.

[Shift] + [T4] to Select LFO AMPERE

[T4] Velocity LFO Page. Press to Set On/Off
MIDI 30
AMOUNT DEST PARAMETER
I 2 3 4
26 00
AMP

AMOUNT DESTINATION PARAMETER

Amount of modulation The target destination Specific parameter
that will effect the function containing the that will be modulated
destination parameter parameter to modulate by the source.

MIDI 42
AMOUNT DEST PARAMETER

76 23

AMOUNT
Amount of modulation
that will effect the
master volume level

Velocity is based on how hard or soft a key is played on a keyboard. An

external keyboard can apply MIDI velocity. Traditionally velocity would be
interpreted as a loudness in the notes played. The Velocity LFO can also
apply the velocity input, typically over a 1-127 range to an additional
parameter destination.

The internal OP-1F Keyboard also has a velocity setting accessed using
[Shift] + [Tempo]. When ‘Off’ a fixed velocity of 127 is always applied when
using the internal keyboard.

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5 FX & Modulation
NOTES

Many options are specific to the Velocity LFO. Set the internal keyboard
velocity to ‘Soft’ or ‘Hard’ to demonstrate the LFO impact.

Amount Options

The amount of modulation set for each of the Destination and Volume

Modulation Amount. Volume - Turn (Blue) : Destination - Turn (Ochre)

The strength of modulation is affected by the velocity amount.

Turn (Ochre) for knob adjusts the destination amount -100 to +100

Destination

+100
00
-100
Volume

Turn (Blue) for knob adjusts the volume amount 0 to +100

Destination Options

The destination options, as located into the 3 [Tx] pages; Engine, Envelope, FX.

Destination Function - Tap or Turn (Grey)

Cycles and selects one of the available destinations i.e. Synth/Drum Engine, Envelope, Effect.

Destinations: Synth Drum Envelope Effects Vol/Pitch

FX

Press or Turn (Grey) to Cycle through the destination options.

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 FX & Modulation 5
NOTES

Parameter Options

The 8 individual are available for the destination function selected.

Destination Parameter - Tap (Orange)

To select the parameter or all parameters associated with the destination function.

Parameter Name Displayed

1 PITCH PITCH 5

2 6

3 7
SHIFT
4 8

All 4 main or individual parameters assigned to the destination function knobs.

Press (Orange) to Cycle through the available Parameters

Selecting Vol/Pitch destination offers number of master output parameter options.

Volume
Destination

Parameter

Pitch

Pan

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5 FX & Modulation
NOTES

To demonstrate the application of the Velocity LFO a walkthrough example

is provided. This covers internal keyboard velocity but an external MIDI
keyboard can also be connected and used.

▌VELOCITY LFO APPLICATION

1. Hold [Shift] + [T4] to open the LFO browser. Turn (Blue) to highlight the
Velocity LFO. Press [T4] to select and open the LFO Page. The [T4]
button also toggles the LFO On or Off.

2. Ensure the OP-1F has the variable velocity. Off will only trigger a fixed
127 maximum value on each key press.

• Press [Shift] + [Tempo] to open the settings.

• Turn (Blue) to select the ‘Keyboard’ sub menu

• Turn (Ochre) to select ‘Velocity’ option.

• Turn (Orange) to select a velocity setting either ‘Soft’ or ‘Hard’. This

will trigger a velocity value based on how hard a key is pressed.
The actual value is shown on key press in the Velocity LFO page.

3. Revert back to the [Synth] and press, [T4] to select the LFO.

4. Set the LFO Volume Amount. Turn (Blue) until ‘100’ is displayed. This
will change volume over full range based on the value of velocity. If set
to 0 the volume will be fixed. Press a note key to test.

5. Select a destination. Tap or Turn (Grey). Select a destination function,

for example load the Phase Synth and select Synth as the destination.

6. Select target parameter. Tap or Turn (Orange) to select the parameter,

in this example select ‘Tilt’ for the phase synth.

7. Set the LFO Destination Amount. Turn (Ochre) until ‘+100’ is displayed.
This will change tilt value based on the value of velocity. If set to 0 the
tilt value will be fixed.

8. Iterate the amount settings to get a good balance and a desired sound.
Start by setting both amounts to around 20 and then try variations from
there. Also try switching between ‘hard’ and ‘soft’ keyboard velocity
settings.

9. Note, when using an external MIDI keyboard, the OP-1F MIDI channel
and settings will need to be configured.

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 FX & Modulation 5
NOTES 5.20 MIDI LFO
The MIDI LFO type is specifically focussed on connecting an external MIDI
Continuous Control Change - CC Message to the OP-1F Parameters. MIDI
CC messages allow for real time control over parameter values.

[Shift] + [T4] to Select LFO

CONTINUOUS CONTROLLER
[T4] MIDI LFO Page. Press to Set On/Off 2 3 4
MIDI

I 2 3 4 DEST

DESTINATION DESTINATION DESTINATION DESTINATION

Destination for CC Destination for CC Destination for CC Destination for CC
Channel 1. Synth / Channel 2. Synth / Channel 3. Synth / Channel 4. Synth /
Drum or Envelope Drum or Envelope Drum or Envelope Drum or Envelope

1 2 3 4

FX

PARAMETER PARAMETER PARAMETER PARAMETER

Parameter within the Parameter within the Parameter within the Parameter within the
destination function for destination function for destination function for destination function for
CC Channel 1. CC Channel 2. CC Channel 3. CC Channel 4.

Unlike the other LFO’s where each knob controls a parameter, the MIDI
LFO operates with 4 MIDI CC Channels with each knob representing one
of the four channels.

The CC Channels should be matched with a connected external device

that transmits CC over the same four channels.

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5 FX & Modulation
NOTES

Each of the 4 MIDI CC Channels operate in the same way so this example
will illustrate only one CC control. The MIDI Channel and other MIDI
settings should be set up for the connected device as a pre-requisite when
using the MIDI CC LFO.

Example.
Spring FX controlled on MIDI CC1 by a external MIDI controller on MIDI Channel 2.

Turns Spring FX

TURNS

CC 1 Set to Ochre L

Parameter Destination TONE

R
MIX

DAMPING

FX

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

Connect to OP-1F using USB-C or BLE* MIDI

MIDI CH 2

CLOCK IN MIDI Channel 2 Set in the

OP-1F MIDI settings. Other
NOTES IN
also to ‘In’ for CC Control
OTHER IN

CC 1 Control range is typically

0-127 but the range may need MIDI Channel 2
adjusting to match OP-1F

External MIDI Device sending CC Messages

e.g MIDI Controller, typically via powered hub.

* BLE - Bluetooth Low Energy is a power conserving light version for bluetooth connectivity

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 FX & Modulation 5
NOTES

MIDI Destination Functions

MIDI Destination - Hold [Shift] + Turn (Knob)

The number will refer to the MIDI CC Channel 1, 2, 3, or 4 to adjust

Destinations: Synth Drum Envelope Effects Vol/Pitch

FX

Hold [Shift] + Turn (Knob) to Cycle through the destination options.

Destination Parameter - Tap or Turn (Knob)

The knob colour will refer to the parameter in the loaded synth, drum, effect etc

1 5

2 6

3 7
SHIFT
4 8

All 4 main or individual parameters assigned to the destination function knobs.

Press (Knob) to Cycle through the available Parameters

Selecting Vol/Pitch destination offers number of master output parameter options.

Volume
Destination

Parameter

Pitch

Pan

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5 FX & Modulation
NOTES

To demonstrate the application of the MIDI LFO a walkthrough example is

provided. An external device can be connected by USB. In this example
CC1 represented by the (Blue) knob is configured to control cutoff.

▌MIDI LFO APPLICATION

1. Connect an external device, in this case a MIDI Controller to the OP-1F.

Ensure the control to use for CC messaging is set to transmit as CC
number 1. Only CC Channels 1, 2, 3, 4 control MIDI LFO functions.

2. Ensure the OP-1F MIDI Settings are set.

• Press [Shift] + [Com] to open the communications settings.

• Press [T1] - MIDI to open the MIDI settings.

• Turn (Blue) to set the MIDI Channel to match the connected device.

• As a starting point set ‘Clock’, ‘Notes’ and ‘Other’ to IN using the

(Ochre), (Grey) and (Orange) knobs respectively.

3. Hold [Shift] + [T4] to open the LFO browser. Turn (Blue) to highlight the
MIDI LFO. Press [T4] to select and open the LFO Page. The [T4]
button also toggles the LFO On or Off.

4. Set the CC1 Channel to a destination function to control. As an

example, with the Nitro effect loaded, Hold [Shift] + Turn (Blue) to select
the FX destination option for CC1.

5. Set CC1 Channel destination parameter to the Nitro filter ‘Lows’ cutoff
frequency. Press or Turn (Blue) to select the destinations Blue knob.
Note that the destination name is not displayed and is represented by
the knob so take note of the effect knob colour for representing which
parameter. Blue represents Lows in the Nitro effect.

6. Adjusting the external MIDI controller should now transmit CC to MIDI

CC1 on the OP-1F and control the ‘Lows’ in the Nitro effect.

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 FX & Modulation 5
NOTES

Note that while changing the external CC controller, the OP-1F destination
parameter assigned should display the parameter changes in the
destination page. However some changes may not be easily
distinguishable from other notes and sequencers which are also being
applied at the same time as the CC control.

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 NOTES

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 6
Sequencers
The creativity options in the OP-1F continue for synths. Various trigger options exist for the
with the range of sequencer functions sequencer including the keyboard itself or self
enhancing sound design options even further. triggering. The sequencer or the keyboard can
The OP-1F contains 7 Sequencer engines drive the respective engine to generate the
which can be utilised with the synth to play and sounds. Playing notes in the synth or the drum
sequence a series of notes or to program drum page will trigger an active sequencer. It is always
pads for creating a beat. A sequencer good to check if a sequencer is switched on and
automates the playing of a melody or beat. The active. This can be seen by pressing the
synth and drum engines can operate sequencer button, you can also see if the
separately so that a single unique dedicated sequencer is active in the device flowchart
sequencer can be set up independently for displayed by pressing the [Shift] + [Mixer]
each one. The options range from a traditional buttons. If active the SEQ will be displayed near
step by step programmable sequence to to the keyboard symbol. Be careful in
random note generators and also various programming some of the sequencers as it is not
options in between. In true OP-1F style always possible to take steps back to edit any
interesting and quirky animations add to the mistakes. Sometimes errors may even require
fun. The finger sequencer operates in synth that the programming of the sequence has to be
and drum mode with the same functionality but restarted.
with different visual animations, illustrating the
function selected. The monkey drummers are
on display for the drum finger sequencer and
the clown players illustrate finger sequencing

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6 Sequencers
6.1 Sequencer Overview NOTES

The basic principles of accessing and operating a sequencer are common

to all, although the setting up of a sequenced pattern will depend on each
sequencer engine. The selection of a specific sequencer engine will
depend on what application is required.

▌SWITCHING A SEQUENCER ON/OFF

1. Press [Seq] to toggle the current sequencer On or Off.

2. The Sequencer display will indicate when the sequencer is off.

Press [Seq] to turn SEQ OFF

sequencer On / Off

▌SELECTING THE SEQUENCER ENGINE BROWSER

1. Press [Shift] + [Seq] to open browser.

2. Turn (Blue) to highlight the desired sequencer engine.

3. Press [Seq] or Press (Blue) to select and view the highlighted

sequencer.

▌CHECKING THE SEQUENCER STATUS

1. Press [Seq] an active sequencer is displayed or the Seq off will show
an inactive sequencer.

2. Alternatively, Press [Shift] + [Mixer] to show the status of various

functions. An active sequencer will show the SEQ label brightly lit next
to the keyboard symbol.

MOD

FX 21 97
EQ

Sequencer On
SEQ

KEY FX MASTER
TAPE DRIVE

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 Sequencers 6
NOTES 6.2 Arpeggio
An Arpeggio breaks out the individual notes from a chord and plays each in
a defined pattern. For example 3 notes of a triad chord are each played
individually in an upward or downward pattern cycle.

This sequencer requires a chord to be played on the keyboard to trigger

the arpeggiation of the notes from the played chord.

[Seq] /8 ONCE HOLD

[Shift] + [Seq] to choose

2 NOTE
LENGTH TYPE 0 SWING
50%

Arpeggio Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Note Value Trigger Mode Trigger Pattern Hold

Interval between notes In conjunction with Sets the note trigger Will hold the notes
per bar. This is the ‘Type’ to control the pattern as displayed played and loop
time signature behaviour of how by the 4 dots in the playback. Chord is
synchronised with the additional notes are upper display. retained once keys are
main tempo. applied. released.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Note Length Type Pause / Skip Swing

Length of individual TYPE 0: Octave Up Sets how the dashed Shuffles the note
notes. Ensure TYPE 1: Oct Up+Dn step in the trigger timing. Range is 20-
envelope setting TYPE 2: +7, +9, -5 pattern behaves. 80% with 50%
allows duration. TYPE 3: 2, 4, 5, 7, 9 Arrow, step is skipped. representing no swing.
Pitch of the added The || icon means step
notes in trigger mode is silent / paused.

The OP-1F Arpeggio offers the ability to set multiple play and trigger styles
as well as adding notes in addition to the chord notes played

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6 Sequencers
NOTES

The Arpeggio is a useful for on the fly pattern generation based on a chord.
The OP-1F hosts some advanced arpeggiation features.

Chord Played Note Value sets the time signature

Hold will latch on

the chord played

Bar markers are not displayed as the

notes & staves will scroll when played

Options are: Default 1/16 = 16 Notes per Bar

or 1/4, 1/8, 1/8T, 1/16, 1/16T, 1/32, 1/32T
T=Triplets plays 3 notes over the length of 2.

Chord Broken into Notes

Swing Adjustment Note Length

20% 50% 80%

Swing adds a note shuffle. Range is 20% - 80%, 50% Note Length sets duration of the note. Range is
is Off. Timing is affected of alternate notes triggering 1-64. The next note triggered and the envelope
earlier or later in the pattern are also considerations.

‘Trigger Pattern’ sets the note sequence Played

Assigns a 4 step pattern of whether or not a note Paused / Skipped
is played or paused / skipped.

‘Pause / Skip’ sets pause/skip behaviour Skips Dashed Step

Controls how the dashed step in the trigger pattern Silence Dashed Step
operates. Pause or Skip the step.

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 Sequencers 6
NOTES

‘Trigger Mode’ introduces additional notes NONE: No new notes added.

Selects the model used to apply additional notes ONCE: A note added after last note played.
into the arpeggiated note pattern. EACH: Each note played gets an additional note.
ALL: Note only added after sequence ends.
TRIG: No added notes. Locks 1st note to a 4/4 time seq.

‘Type’ sets note value of added notes Type 0: 1 Octave Up.

Controls how the pitch note value of added notes Type 1: 1 Octave Up & Down
is applied to any new notes added, starting at the Type 2: +7, +9, -5 Semitones.
base note. Type 3: +2, +4, +5, +7, +9 Semitones

Mode & Type Examples. Original Chord. +12 Added Note & Semitones. Trigger Pattern

NONE: No new notes added. ONCE: New note added after last ONCE: New note added after last

+12 +12 +12 -12

Type 0: 1 Octave (+12 Semitones). Type 0: 1 Octave Up. Type 1: 1 Octave Up & Down.

EACH: New note added for each. EACH: New note added after last ALL: New notes added at end

+9
+12 +7 -5
+12
+12 +12
+12 +12

Type 0: 1 Octave (+12 Semitones). Type 2: +7, +9, -5 Semitones. Type 1: 1 Octave Up

▌PLAYING AN ARPEGGIO SEQUENCE

1. Switch to the drum or synth engine required.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Arpeggio’.

3. Tap [Seq] to Turn the sequencer on or off. Set to On.

4. Use the keyboard to play key chords to trigger the sequencer. An

arpeggiator breaks the chord into individually sequenced notes, the
pattern of which is determined by the Arpeggio settings.

5. Hold the keys to keep the sequencer running or Turn or Tap (Orange)
to ‘Hold’ and lock the chord played, even when keys are released.

6. Use [Left] and [Right] to transpose the keyboard notes if required.

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6 Sequencers
6.3 Endless NOTES

Endless is a quick and simple step sequencer holding up to 999 notes. The
basic principle is to program a sequence of notes manually which can then
be played back and transposed using the keyboard. Editing a sequence is
performed continuously by holding [Shift] throughout. Lifting off [Shift]
confirms that the sequence is complete and no further editing is possible.

[Seq] /6 HOLD
[Shift] + [Seq] to choose 50%

Endless Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Note Value Swing Trigger Pattern Hold

Interval between notes Shuffles the note Selects a note trigger Will hold the notes
per bar. This is the timing. Range is 20- pattern displayed by played and loop
time signature 80% with 50% the dots left side of the playback. Notes are
synchronised with the representing no swing display. A single dot retained once keys are
main tempo. means no pattern. released.

Shift + Turn Blue Shift + Turn Grey Shift + Turn Orange

Manual Mode Rotate Pattern Direction

Selects manual Rotate the trigger Selects from 3
playback mode to pattern as displayed direction options.
operate in a ‘Music by the left side dots. Forward, reverse or
Box’ style, while random direction
cranking the blue knob playback

Endless Sequencer Buttons

Function Button Description
Add a note to the sequence. Keep shift held
Insert Note [Shift] + [Note]
throughout adding all notes

Extended Note [Shift] + [Note] + [Right] Insert a long note for the duration of steps

Insert Space [Shift] + [Right] Insert an empty step

Delete [Shift] + [Left] Delete previous step note

Transpose [Left] or [Right] Change octave when playing back

Once a sequence is created, play the

Play Sequence [Note] keyboard notes to play it back
Concludes editing and creation of the
End editing Lift Off [Shift] sequence. No further editing is possible

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 Sequencers 6
NOTES

The Endless sequencer is a quick and easy way to program a note pattern.
Only one sequence is active and each time a new one is created / edited it
erases the previous programmed sequence.

Notes entered ‘Note Value’ sets the time signature

into sequence
2
&
Hold will latch on 3
the playback
0 1
Bar markers are not displayed as the notes &
staves will scroll when played

Options are: Default 1/4 = 4 Notes per Bar or

1/4, 1/8, 1/8T, 1/16, 1/16T, 1/32, 1/32T
T=Triplets plays 3 notes over the length of 2.

[Shift] + [Note] to [Shift] + [Left] to

insert notes
0 1 2 3 delete and back up

G D A# A#

Swing Adjustment Note Length

20% 50% 80% Step 1 Step 2 Step 3

Swing adds a note shuffle. Range is 20% - 80%, 50% Note length can be extended through steps by
is Off. Will be off for some note value time signatures [Shift] + [Note] + [Right] when adding notes to
the sequence

Press a note to playback the sequence. Direction of Playback

R
C Forwards Reverse Random

Original pitch at note ‘C’ Hold [Shift] + Turn (Orange) to set playback
to forwards, reverse or random direction.

Trigger Pattern sets the note sequence Played Rest

Assigns one of 48 patterns which apply the notes or rests
into to the sequence. A single dot plays as recorded.

Rotate Pattern rotates notes in the trigger pattern

Moves the notes / rests incrementally through the pattern
steps by rotating around the pattern ‘steps’.

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6 Sequencers
NOTES

▌USING THE ENDLESS SEQUENCER

1. Switch to the drum or synth engine required.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Endless’.

3. Tap [Seq] to turn the sequencer on or off. Set to On.

4. Hold [Shift] to enter edit mode and to start adding notes. Keep [Shift]
held through the process. Lifting off [Shift] will confirm the sequence is
complete. The sequence cannot be edited further. Any new edits will
create a new sequence.

• [Shift] + [Note] will enter a note and then move to the next step slot.

• [Shift] + [Right] to enter an empty step and move to next step slot.

• [Shift] + [Left] to step back and delete the prior step.

• [Shift] + [Note] + [Right] to extend the note to the next step(s).

5. Lift from holding [Shift] to complete editing.

6. Press any [Note] to play a base note for the sequence which will play
while the note is held. Press note ‘C’ to play back the original pitch.

7. To retain the playback automatically Turn or Tap (Orange). This will hold
the note played and maintain playback.

8. A number of playback options are available.

• Press [Left] and [Right] to transpose the keyboard by an octave

iteratively if required.

• Press [Shift] + Turn (Orange) to set the playback direction. This can
be set forwards, reverse or randomly switch playback direction.

• Turn (Ochre) to adjust the swing and add a shuffle to the sequence.

• Turn (Grey) to select one of the 48 trigger patterns. The sequence

will follow the pattern selected where notes and rests are laid out.
The pattern can be rotated by using [Shift] + Turn (Grey).

9. Playback can also be performed manually. Hold [Shift] + Turn (Blue) to

select manual playback mode, indicated by the ‘hand’ symbol top left.
Turning (Blue) will now play the pattern in a music box style. Playback
will operate at the speed of cranking the (Blue) control knob.

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 Sequencers 6
NOTES 6.4 Finger
The Finger sequencer provides the ability to play two selected patterns
simultaneously. Typically two notes would be played to trigger the patterns.
While the finger sequencer function operates the same for both the drum
and synth engines, the display graphics and animations will be different.

[Seq]
[Shift] + [Seq] to choose

Drum Engine - Finger Seq Synth Engine Finger Seq

HOLD HOLD

JOIN JOIN

A B

Finger Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Move Cursor Swing Pattern Length Hold

Positions cursor within Shuffles the note Adjusts the length of Will hold the notes
the pattern. Navigates timing. Range is 20- the sequencer pattern played and loop
the edit cursor within 80% with 50% up to 32 steps. playback. Notes are
the pattern steps. representing no swing retained once keys are
released.

Shift + Turn Blue Shift + Turn Orange

Erase Notes Play Mode

Erases notes from Determines how the
within the pattern second pattern will
steps while navigating play in conjunction
within the pattern. with the first pattern
played.

Finger Sequencer Buttons

Function Button Description
Insert a note into the pattern step at the
Insert Note [Shift] + [Note]
cursor position.

Navigate Forward [Shift] + [Right] Move the cursor forwards without editing.

Navigate Back [Shift] + [Left] Move the cursor backwards without editing.

Once a sequence is created, press the first

Play Sequence A White Keyboard [Note] keyboard white note to play Seq A.
In conjunction with Seq A, press another
Play Sequence B White Keyboard [Note] white note to play as defined by play mode

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6 Sequencers
NOTES

The Finger sequencer operates with two sequencers named A and B which
play a pattern. Playing the white keyboard notes triggers each sequencer
with the play mode determining their relationship when played together.

Trigger Pattern sets the note sequence

The pattern is central to the finger sequencer as it defined when a note is played or not. An individual
pattern can be created for each of the white notes on the keyboard.

1 8

Pattern Length
A Pattern contains up to Played Rest
32 Steps set by (Grey)

25 32

Select a key for the pattern by pressing a white keyboard note.

Navigate the pattern with (Blue) and Navigate and erase using [Shift] + (Blue).

[Shift] + [Note] to enter a note at the cursor point

Swing adds a note shuffle

Timing is affected of alternate notes triggering earlier or later in the pattern. Swing control is shown above the
pattern on the finger display and is adjusted with the (Ochre) Knob. The dot shows dark when the swing is off.

Playing Patterns
Each white key hosts a pattern/ Press the first white key to play Pattern A and the second note pressed will
play Pattern B. The Patterns will play together based on the ‘Play Mode’ selected. A dot at the keyboard
indicates available notes in the range.

A B

Play Modes
[Shift] + (Orange)

‘Join’
Will play both A + B patterns together

‘Fill-In’
Switches to one cycle of pattern B then back to sequence A.

‘Replace’
Switches to and continues with Pattern B when a 2nd key is pressed

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NOTES

▌CREATING FINGER SEQUENCER PATTERNS

1. Switch to the drum or synth engine required. The display will differ
between the two engines but the principles of operation remain the
same for both.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Finger’.

3. Tap [Seq] to turn the sequencer on or off. Set to On.

4. Select a key note to create or edit the pattern. An individual pattern

exists for each of the white notes on the keyboard. Example: select
note ‘F’, the first white key.

5. Select the length for the pattern. Turn (Grey) to decrease or increase
the step count up to a maximum of 32 steps.

6. Hold [Shift] to enter edit mode and to start adding notes. The ‘erase’ tag
will appear top left to indicate editing mode.

• [Shift] + [Note] will enter a note and then move to the next step slot.

• [Shift] + [Right] alternatively Turn (Blue) to navigate to the next step.

• [Shift] + [Left] alternatively Turn (Blue) to navigate to the prior step.

• [Shift] + (Blue) will navigate while erasing step notes. A tip is to

navigate by turning (Blue) then Press [Shift] + Turn (Blue) on the
step note to erase.

7. Lift from holding [Shift] to complete editing. The sequence can be

edited further if required.

8. Repeats Steps 4 - 7 with other keyboard notes to create a pattern per

white key. Example for note keys, G, A, B, C, D, E etc.

9. The patterns are stored in each of the 14 white keyboard keys. The
black keys are not used. The display only shows 7 notes illustrated and
the currently highlighted key. A dot located at at the side of the
keyboard icon indicates that upper or lower range is available.

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NOTES

▌PLAYING FINGER SEQUENCER PATTERNS

1. Press any white keyboard key containing a pattern. Press [Note]. This
will play pattern ‘A’ as animated on the display from the start.

2. Press another white keyboard key containing a pattern. Press [Note].

This will play pattern ‘B’ if Pattern ‘A’ is already playing.

3. The patterns will play while the note is held or Tap or Turn (Orange) to
set the playback to ‘Hold’ to latch on the notes pressed.

4. Play mode will determine how both A & B patterns, when played
together, will behave.

• Join. This will simply play both patterns together in sync. Releasing
one pattern will allow the other triggered pattern to continue.

• Fill-In. Will continuously loop play sequence ‘A’ when triggered.

When Sequence ‘B’ is triggered this will play through once before
returning back to play sequence ‘A’.

• Replace. Will make a synchronised switch between pattern ‘A’ and

‘B’ when triggering the patterns. So for example, if Pattern ‘A’ is
playing, triggering pattern ‘B’ by playing another note will make a
synchronised switch to this pattern. Releasing ‘A’ and triggering
another key will switch to new Pattern ‘A’ in sync. Releasing ‘A” or
‘B’ alone does not automatically switch back to the other pattern.

5. Note that the order which the notes are played determines its hierarchy
in triggering ‘A’ and ‘B’ patterns. This is important in which pattern is
played. The first note played is always ‘A’ and any subsequent notes
played while still holding the first, will be classified as ‘B’. The last note
played will always be classified as ‘B’ while ever ‘A’ is still playing.

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NOTES 6.5 Hold
It can be argued whether Hold is a sequencer at all. However what it does
is to capture a set of played notes over an extended keyboard range.
Notes can be applied individually in mono mode or multiple notes added
polyphonically. Notes can then be transposed after being played.

[Seq] F9
ERASE POLY HOLD
[Shift] + [Seq] to choose

Hold Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Break Point Mono / Poly Transpose Hold

Changes the keyboard Selects between Transposes any active Will hold the notes
hold range. Adjust to ‘Mono’ for single note keyboard notes up or played into the keys.
reduce the upper note entry to ‘Poly’ to enter down the available Notes are retained
range break point. multiple notes. keyboard range. once keys are
released.

Tap Orange

Clear
Clears all notes played
or notes latched to the
keyboard.

As in the title, Hold is best used in a ‘hold’ state. This will latch the notes
played. Turn (Orange) to select Hold On or Off. Notes or chords are simply
played into the sequencer using the keyboard. Notes will be latched if the
hold state is set to on but can be released individually by pressing the
same latched note again or by tapping (Orange) to clear all notes.

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NOTES

The Hold sequencer will capture one or more notes into an adjustable
extended keyboard range. Any note can be played across the full range but
only notes within the hold sequencer break points will be latched and held.
Turn (Orange) to set the ‘Hold’ Mode on or off.

Break Point sets the hold range upper limit

The (Blue) knob sets the maximum note in the range to be used as the keyboard hold range. Other
notes can be played outside of the range but will not be latched. The ‘Hold’ setting will determine if
notes are latched or not.

Poly allows multiple Mono allows one note

notes to be held at a time to be held

Mono / Poly for single or multiple note entry

The (Ochre) knob sets whether to accept multiple notes and chords when using Poly mode or to only
accept a single note in Mono mode. In Mono mode the last note played is latched while in Poly mode
all notes played are latched.

Individual Mono Notes can be

transposed in semitones using (Grey)

Chord in Poly Mode can be

transposed using (Grey)

Clear Erase notes

Pressing a latched note a second time will unlatch and clear. Also tap (Orange) to clear all latched notes.

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NOTES

▌USING THE HOLD SEQUENCER

1. Switch to the drum or synth engine required.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Hold’.

3. Tap [Seq] to turn the sequencer on or off. Set to On.

4. Turn (Orange) to set the mode to ‘Hold’. Any notes played will now be
latched to play.

5. Turn (Ochre) to select Mono or Poly mode.

• Mono. Allows entry of single notes. If another note is played, this

will replace the prior latched note. Once latched press again to
release the note. If mono mode is selected while multiple notes are
latched in poly mode, only the first note entered will be retained.

• Poly. Allows multiple notes to be played and latched. Play a note or

chord to enter notes.

6. Select the hold range by adjusting the upper break point. Turn (Blue)
knob to adjust. The excluded range is shaded out in the display. The
range will only control the holding of notes, other notes outside of the
range can still be played manually but not held.

7. Play a note, notes or chord depending on mode. These will be latched

if ‘Hold’ is on. Press the notes again to unlatch or tap (Orange) to clear
all held notes from the sequence.

8. Any held notes or chords can be transposed. Turn (Grey) to transpose

all held notes up or down the scale.

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6.6 Pattern Sequencer NOTES

Pattern is a traditional grid style 16 step sequencer. Notes are populated in

rows with columns representing the step interval. Pattern is particularly
useful when programming percussive beats or repetitive bass lines.

[Seq] ERASE 50% HOLD

[Shift] + [Seq] to choose

Pattern Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Move Cursor Swing Pattern Length Hold

Move and reposition Shuffles the note Adjusts the number of Will playback the
the vertical cursor line timing. Range is 20- steps from 1 up to 16. sequencer in live
across the grid in step 80% with 50% Steps are represented mode when hold is on.
intervals. representing no swing by columns.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Erase Notes Offset Notes Move Section Play Mode

Erases notes from Rotate all notes back Move the entire Selects from 3
within the pattern and forth across the playback section. direction options.
steps while navigating grid. Notes will wrap at A section is defined Forward, reverse or
with the cursor. the start / end. when the length is less cycle forward &
than 16 steps. reverse playback

Pattern Sequencer Buttons

Function Button Description
Add a note to the sequence. Keep shift held
Insert Note [Shift] + [Note]
throughout adding all notes
Disconnect edit cursor from play head to
Live Mode Edit [Left] or [Right] allow editing when playing in live mode
Move the vertical cursor between step
Move Cursor [Left] or [Right]
columns forwards or backwards in seq.
When in Synth or Drum view and Pattern
Transpose [Left] or [Right] sequencer is active, transposes notes.

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NOTES

The Pattern sequence allows notes to be played and recorded into a grid
style step sequencer. Horizontal lines represent white keys and the rows
represent black keys on the keyboard. Columns represent the note interval.

Enter Notes
Hold [Shift] + [Note] to add notes starting at the vertical blue cursor line. Turn (Blue) knob to reposition
the cursor across the 16 step grid and use [Shift] + Turn (Blue) to erase notes while navigating.

E
Played Key

Current Step

Playhead

Sequenced Note

Playing the Sequence Edit in Live Mode

Turn (Orange) to switch ‘Hold’ on. This will Editing can be applied while playing. Press [Left]
play the sequenced pattern in a loop. or [Right] to detach the cursor from playhead.

Sequence Length
Turn (Grey) to adjust the sequence length between 1-16 steps. The section can also be moved
horizontally across the grid to create variations and fills, Hold [Shift] + Turn (Grey) to move.

Adjust Length

1 12 16
Move Section

Swing Adjustment Play Mode of Playback

R
20% 50% 80% Forwards Reverse Cycle

Swing adds a note

C shuffle. Range is 20% - 80%, Set playback to forwards, reverse or cycle fwd/rev
50% is Off. Turn (Ochre) to adjust. direction. Hold [Shift] + Turn (Orange) to change.

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NOTES

▌EDITING A PATTERN SEQUENCE

1. Switch to the drum or synth engine required.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Pattern’ sequencer.

3. Tap [Seq] to turn the sequencer on or off. Set to On.

4. Turn (Grey) to set the sequence pattern length up to 16 steps.

5. To enter and edit notes.

• Hold [Shift] + Press [Note] to insert a note based on the key

pressed at the current step. When stopped the playhead blue line
and current step up arrow icon are linked to the current step.

• Turn (Blue) to move the cursor to a step to edit.

• Hold [Shift] + Turn (Blue) to swipe the cursor across the steps,
erasing any notes that the cursor passes over.

• To erase an individual note, Hold [Shift] + Press [Note] again when

the cursor is over the step. Press the same note key as the original
note when on the step to erase.

6. The grid represents the notes based on the keyboard layout. The
horizontal grid lines refer to the keyboard white keys while the grid rows
represent the black keys. Vertical columns represent pattern steps.

7. Note that if the pattern is playing, Press [Left] or [Right] to detach the
playhead from edit marker. Editing can then be performed while live
play is in progress using the steps described above.

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NOTES

▌PLAYING A PATTERN SEQUENCE

1. In the sequencer page, Turn (Orange) to set the playback to ‘Hold’.

This will play the pattern on loop.

2. Play mode will determine the direction of how the pattern is played

• Forward. Pattern will play, on loop from the first step to the last.

• Reverse. Pattern will play on loop from the last step to the first. The
pattern will therefore play in reverse.

• Cycle. Pattern will play forwards until reaching the last step at which
point the direction will reverse from the last step to the first. This
ping-pong style behaviour will continue on loop.

3. If required, Turn (Ochre) to add shuffle to the pattern using swing. A

setting of 50% means no swing and adjustments will bring some notes
earlier or later in the pattern.

4. Notes can also be rotated across the grid. Press [Shift] + (Ochre). This
is useful for on-the-fly variations when playing live.

5. Hold [Shift] + Turn (Grey) to move the grid. If the grid pattern length is
set less than 16 steps, it can be moved horizontally. Note that this
process only moves the play grid and the current notes remain in the
same step location. This offers a creative feature for ad libs and fills
where different ‘slices’ of the pattern can be selected.

6. Note that if the pattern is playing, Press [Left] or [Right] to detach the
playhead from edit marker. Editing can then be performed while live
play is in progress.

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6.7 Sketch NOTES

Sketch follows the basic principles of the kids ‘etch-a-sketch’ toy which
enables the creation of images by drawing with X & Y controls. A simple
concept needing meticulous patience to get good visuals but maybe not so
much to get good sounds. Notes are triggered on the OP-1F when the
playhead coincides with the image.

[Seq] X Y DRAW X Y MOVE

[Shift] + [Seq] to choose

Sketch Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Draw X Draw Y Move X Move Y

Draw a line in the Draw a line in the Move the cursor Move the cursor in a
horizontal direction, vertical direction, up or without drawing, in a vertical direction, up or
right or left. down. Reflects pitch horizontal direction, down. Playing notes
for the sound. left or right. also moves the cursor.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Erase Use Divider Use Grid Hold

Erases the shape Divides or multiplies Switches on and Will automatically
while navigating with the playback speed. adjusts the resolution playback the
the cursor. Similar to Options are /4, /2 or for a grid as a visual sequencer when hold
an undo / redo feature. x1, x2, x3, x4, x5, x6, aid to drawing a is on.
x8, x12, x16 shape.

Sketch Sequencer Buttons

Function Button Description
Moves the drawing cursor in note intervals
Play Note [Note] vertically while playing a note.
Moves the drawing cursor in octave
Transpose [Left] or [Right] intervals vertically.
In synth mode sketch can be manually
Play Note [Note] played when triggering a note.
In the seq page, shake of the OP-1F will
Erase Shake the OP-1F erase any drawings from the sequencer.

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NOTES

The Sketch sequencer is a free flowing, drawing based sequencer. The

drawing shape triggers the sound when the cursor passes left to right over
the diagram shape.

Enter Notes
Notes are triggered by the drawing. Create a sketch using the X Control (Blue) and Y Control (Ochre).
The cursor can also be moved without drawing using X Move (Grey) and Y Move (Orange). To erase
use [Shift] + (Blue). This acts like an undo / redo function.

Playhead
F
E
Drawing Cursor
F
E
Shape Sequence

F Visual Grid
E

Playing the Sequence Speed Divider / Multiplier

Hold [Shift] + Turn (Orange) to switch ‘Hold’ The speed of the pattern can be adjusted with
on and play the pattern. the [Shift] + (Ochre) control. Options are /4, /2 or
x1, x2, x3, x4, x5, x6, x8, x12, x16

Playing Sequence in Synth Mode

When the synth is displayed the sequence can be played manually. Play a note to trigger the sequence.

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NOTES

▌EDITING A SKETCH SEQUENCE

1. Switch to the drum or synth engine required.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Sketch’ sequencer.

3. Tap [Seq] to turn the sequencer on or off. Set to On.

4. To clear the existing shape completely, shake the OP-1F.

5. To create a shape.

• If required turn on a visual grid as a guide to drawing. To set to on,

Hold [Shift] + Turn (Grey). This will also adjust the grid resolution.

• Turn (Grey) and/or (Orange) to move the cursor to an X location for

timing and a Y location for pitch. These controls relocate the cursor
without drawing. Also [Left] or [Right] moves the cursor in octaves
and keyboard [Notes] moves to the pitch.

• Turn (Blue) and/or (Ochre) to draw with the cursor in an X-Y

direction. These controls draw the shape.

• Hold [Shift] + Turn (Blue) to undo / redo the drawing to erase

sections if required.

▌PLAYING A SKETCH SEQUENCE

1. In the sequencer page, Press [Shift] + Tap or Turn (Orange) to set the
playback to ‘Hold’. This will play the sequence on loop and trigger when
the cursor is on the drawn parts.

2. To set the playback speed divider, Hold [Shift] + Turn (Ochre). This will
divide or multiply the playback speed with respect to current tempo.

3. The sequence can also be played manually from within the Synth or
Drum page. When the synth or drum page is on display and with sketch
sequencer turned on, playing notes will trigger the sequence.

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NOTES 6.8 Tombola
Tombola is perhaps the most iconic of the OP-1F sequencers, generating
organic and unpredictable sequence patterns. Sound triggers are initiated
at a starting point and the pattern follows its own course based on
mathematical representation of bouncing balls in a rotating hexagonal box.

[Seq] 2 G-FORCE BOUNCE

[Shift] + [Seq] to choose

Tombola Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Rotation Speed Heaviness Shape Bounciness

Adjusts the rotation Based on gravity Opens or closes the Based on the theory of
speed and direction. theory. Sets how the container walls to mass. This sets how
Clockwise direction at balls fall in the deflect and empty bouncy the notes are.
1 to 11 or counter container. They can notes from within the Harder wall strikes
clockwise at -1 to -10 float or rest. container. gives a louder note.

Shift + Turn Blue

Manual Mode
Selects manual
playback mode. Allows
to control rotation by
manually cranking the
blue knob

Tombola Sequencer Buttons

Function Button Description
Drops notes into the tombola container.
Play Note [Note] Sound is triggered by collisions.

Transpose [Left] or [Right] Transposes the keyboard notes.

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NOTES

The Tombola sequencer is a generative sequencer operating on the

principles of mass, respective to velocity in the OP-1F, and gravity. The
notes colliding and bouncing are what triggers the sound.

Enter Notes
When a note is played a ball is released into the tombola container. The sound itself is not triggered
until the note ball collides with a container wall or another note ball. The behaviour of the note balls is
based on the bounciness and heaviness as well as the container rotation.

Notes

Shape of the Container Rotation Speed of the Container

The container walls can be adjusted to an open The direction and rotation speed can be set
or close position. This releases and deflects the between -1 to -10 for counter clockwise and 1 to
note balls. Turn (Grey). 11 for clockwise. 0 is a static. Turn (Blue).

Heaviness Behaviour Bounciness Behaviour

Turn (Ochre) knob. Heaviness operates on the Turn (Orange) knob. Bounciness operates on
principle of gravity. Do the balls have a strong the principle of mass. How do they react when
gravitational pull, settling at the bottom or is the contacting the wall or another ball? This affects
gravity light with a floating, softer movement loudness similar to velocity.
within the tombola container?

Manual Rotation of the Container

The automatic direction and rotation speed can be adjusted by Turning (Blue) knob. However the
container rotation speed and direction can also be cranked manually. Manual mode is selected by
holding [Shift] + Turn (Blue) before then using (Blue) alone to crank the container.

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NOTES

▌GENERATING A TOMBOLA PATTERN

1. Switch to the drum or synth engine required.

2. Press [Shift] + [Seq] and Turn (Blue) to select the ‘Tombola’ sequencer.

3. Tap [Seq] to turn the sequencer on or off. Set to On.

4. Press any keyboard [Note] to drop the balls into the tombola container.
The sound is triggered, based on the note value played when the note
ball collides with another ball or the container wall.

5. To automatically rotate the container, Turn (Blue). The Direction of

rotation and speed can be adjusted.

6. The behaviour of how the notes act within the container is determined
by the container rotation and two additional parameters:-

• Bounciness. Turn (Orange) to adjust the bounce behaviour. A

higher setting, fully clockwise, will be the highest amount of bounce.
The harder a note ball hits a wall or another ball, the louder the
sound generated. This is similar to velocity.

• Heaviness. Turn (Ochre) to adjust the gravity behaviour. A higher

setting, fully clockwise, will pull balls down which quickly settle to
the bottom with little movement. A lower setting will slow down the
pull to the bottom and balls will float more freely.

7. The container walls can be opened to release the balls and conclude
any sound generation of any ball falling from the container. Also the
wall shape will deflect the balls in a new trajectory. Turn (Grey).

8. The container can be controlled in terms of rotation and speed

manually.

• Hold [Shift] + Turn (Blue) to switch manual crank mode on or off.

• Turn (Blue) to manually crank the container rotation.

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 NOTES

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 7
Mixer
The mixer is effectively the main output stage presented with a range of 0-99 and include pan
of the OP-1F. Each track has a mix level per track, all of which are mixed into a single
adjustment and a pan function. Also a common stereo output. This is accessible by selecting the
3-Band EQ, a configurable output effect, and [Mixer] and found in the [T1] page. In addition
the master stereo output level and drive each track can be muted in this page. A 3-band
function. Although the mixer / master section EQ section is also available in page [T2] and a
may be a consideration only for the final mix- Master output including a Drive function, similar
down, these elements can actually be useful to a master compressor within page [T4]. The
when used as a creative play out tool too. The drive compressor has two parameters, drive,
mixer section also contains a dynamic block which will be distorted if overdriven and release,
diagram showing the OP-1F configuration, which affects the speed of the compression. An
routing and status of the selected functions. additional single effect can be loaded into the
This shows the OP-1F audio sound path. output chain and this is accessed within page
Access to the routing diagram is available with [T3]. The master effect has the same options
[Shift] + [Mixer] and the elements in use are and functionality as the general track effects but
highlighted and the routing is animated during operates in stereo within the master section.
playback. Pressing a note will show the
routing, with selected options lit bright and
deselected options dimmed. A warning symbol
indicates a critical zero level for that function.
The track mixer section will give access to the
audio levels for each track which are

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7 Mixer
7.1 Output Chain Overview NOTES

The general sound path for the output section described here starts by
summing the 4 tracks to a stereo out. Level and pan can be mixed for each
track before being routed to the EQ, a selected effect and then master out.

Main Output Section

Press [Mixer] to access

Track 1 Track 2 Track 3 Track 4

Mixer Section Mixer [T1] I 2 3 4

Sum

3-Band Equalizer EQ I 2 3 4

Selectable Effect FX I 2 3 4

Master Output & Drive Master Out I 2 3 4

Drive

▌DISPLAYING THE LIVE OUTPUT ROUTING DIAGRAM

1. Hold [Shift] + Press [Mixer] to display the routing diagram.

2. The graphic on display will show active elements in the chain. Where
an element is inactive it will be dimmed.

MOD
Hold [Shift] + [Mixer] to view
FX 21 97
EQ

A warning symbol indicates SEQ

critical level reached. KEY FX MASTER

TAPE DRIVE

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 Mixer 7
NOTES 7.2 Track Mixer
The Mixer handles the overall management of the audio output stage of the
OP-1F. The first part of the output process is to mix and sum the audio from
the tape tracks. Track Mixer stage, accessed in page [T1] controls the
level, pan and muting of the 4 tracks and generates a single stereo out.

[Mixer] -10
-5
0 -10
-5
0 -10
-5
0 -10
-5
0
20 +3 20 +3 20 +3 20 +3
Page [T1] to select track mixer 2 3 4

L R L R L R L R

99 88 93 99

Mixer Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Track 1 Level Track 2 Level Track 3 Level Track 4 Level

Sets the volume level Sets the volume level Sets the volume level Sets the volume level
of tape track 1. Range of tape track 2. Range of tape track 3. Range of tape track 4. Range
is between 0-99. is between 0-99. is between 0-99. is between 0-99.

Shift + Turn Blue Shift + Turn Ochre Shift + Turn Grey Shift + Turn Orange

Track 1 Pan Track 2 Pan Track 3 Pan Track 4 Pan

Sets the panning Sets the panning Sets the panning Sets the panning
position between left position between left position between left position between left
and right for the tape and right for the tape and right for the tape and right for the tape
track 1. track 2. track 3. track 4.

Tap Blue Tap Ochre Tap Grey Tap Orange

Track 1 Mute Track 2 Mute Track 3 Mute Track 4 Mute

Mute (when dimmed) Mute (when dimmed) Mute (when dimmed) Mute (when dimmed)
to silence or Unmute to silence or Unmute to silence or Unmute to silence or Unmute
to make audible the to make audible the to make audible the to make audible the
audio for tape track 1. audio for tape track 2. audio for tape track 3. audio for tape track 4.

The current audio level for each track is also shown on the track meter for
each of the tape tracks.

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NOTES

▌SELECTING THE TRACK MIXER

1. Press [Mixer] to select the mixer output section.

2. If not already displayed, Press [T1] to view the tape track mixer page
Each of the coloured knobs represents a tape track channel.

▌CHANGING THE TRACK MIXER LEVELS AND PAN

1. To adjust the track level.

• Track 1 Level - Turn (Blue).

• Track 2 Level - Turn (Ochre).

• Track 3 Level - Turn (Grey).

• Track 4 Level - Turn (Orange).

▌CHANGING THE TRACK PAN POSITION

1. To adjust the track pan position.

• Track 1 Pan - Hold [Shift] + Turn (Blue).

• Track 2 Pan - Hold [Shift] + Turn (Ochre).

• Track 3 Pan - Hold [Shift] + Turn (Grey).

• Track 4 Pan - Hold [Shift] + Turn (Orange).

▌MUTING / UNMUTING TAPE TRACKS

1. To make a track inaudible or audible.

• Track 1 Mute / Unmute - Press (Blue).

• Track 2 Mute / Unmute - Press (Ochre).

• Track 3 Mute / Unmute - Press (Grey).

• Track 4 Mute / Unmute - Press (Orange).

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NOTES 7.3 Equalization
The OP-1F has a 3-Band EQ in the mixer section found in page [T2]. An
EQ or Equalizer is an audio tool used to shape the frequency profile of a
sound over its audible range. This affects the tone of the sound as well as
to help elements of a mix to work together. An EQ can also be used in
some situations to fix audible imperfections in the audio.

[Mixer] 100HZ 1 KHZ 10 KHZ

MAX EQ
Page [T2] to select EQ

LOW MID HIGH CLEAN

EQ Control Knobs
Turn Blue Turn Ochre Turn Grey Turn Orange

Low Mid High EQ Amount

Attenuates or Attenuates or Attenuates or Attenuates or
increases the audio increases the audio increases the audio increases the audio
level around 100Hz level around 1KHz level around 10KHz levels relatively across
frequency - low range. frequency - mid range. frequency - high all bands
range.

Tap Blue Tap Ochre Tap Grey Tap Orange

Low Toggle Mid Toggle High Toggle EQ Toggle

Toggle the setting Toggle the setting Toggle the setting Toggle the setting
between the default between the default between the default between a default
clean low position and clean mid position and clean high position clean position and the
current setting. current setting. and current setting. current setting.

Notes on General EQ Frequency Ranges

Low. The setting around 100Hz adjusts frequencies associated with bass
and kick drums. Cutting frequencies below 100Hz often can reduce the
muddy and boomy audio or boost to thicken male vocals.

Mid. The mid range around 1KHz covers most instruments and is the sweet
spot for a violin, flute and piccolo sounds. Cutting at 1KHz may help clarity
on nasal vocal sounds. Cut to reduce muddiness.

High. The high range around 10KHz can add ‘air’ and ‘brilliance’ to the
sound, giving it a sparkle. Also vocal sibilance can be tamed by cutting the
frequencies in this area.

The OP-1 Field Notebook : Reference & Guide 175

7 Mixer
NOTES

▌SELECTING THE EQ FUNCTION

1. Press [Mixer] to select the mixer output section.

2. If not already displayed, Press [T2] to view the EQ page.

▌CHANGING THE EQ SETTINGS

1. Setting an EQ is more about the sound shaping than the numerical

parameter adjustments. Each of the the 3 frequency bands operate at a
fixed frequency but the attenuation level of each is adjustable. Set the
parameters by ear.

2. To set the overall EQ level, Turn (Orange). This will affect the relative
setting of all bands. Tap (Orange) to toggle between a pure clean EQ
and a previously applied setting.

3. Adjust the band levels as desired. This should be performed by ear

iterating adjustments between bands until a satisfactory sound is
achieved

• Low Band 1Hz Range, Turn (Blue).

• Mid Band 1KHz Range, Turn (Ochre).

• High Band 10KHz Range, Turn (Grey).

• Tap any knob to toggle between a default low setting and a

previously applied level.

176 The OP-1 Field Notebook : Reference & Guide

 Mixer 7
NOTES 7.4 Master FX
The mixer section has one effect slot available which allows the loading of
an available FX function. The operation and list of effects is the same for
master effects as the synth and drum effects with the only exception being
audio routing for the master effect operates in stereo.

[Mixer] TONE BAUD

Page [T3] to select FX Slot O31

42
B

GSM T TELEMETRY

34 48
GSM T

Phone FX shown as example

▌SELECTING AN EFFECT

1. Press [Mixer] to select the mixer output section.

2. If not already displayed, Press [T3] to view the effect page.

3. To load a new effect, Hold [Shift] + [T3] to view the effect list.

4. Turn (Blue) to scroll the list and highlight an effect to select.

5. Press (Blue) or [T3] to select and load the highlighted effect to the slot.

6. The effect is applied in the output section and hence the to entire mix.

7. The parameter adjustments and operation is described in the FX &

Modulation section in full detail for each effect.

The OP-1 Field Notebook : Reference & Guide 177

7 Mixer
7.5 Master Out & Drive NOTES

The final element in the stereo mixer section is the master audio output.
This also contains drive, a compressor style control. The master section
controls are located under the [T4] in the mixer pages.

[Mixer] MASTER
SHIFTLOCK
DRIVE
Page [T4] to select Master
20
-10
-5

L
0
+3 20
-10

R
-5
0
+3 08
PEAK PEAK
RELEASE
LEFT RIGHT

L R
2 97

Master Out Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Master Left Master Right Drive Release

Sets the individual left Sets the individual Adjusts the drive level Sets how fast the
side balance level for right side balance to reduce the difference between
the master out. level for the master difference between highs and lows is
out. high and low levels narrowed. Can
and Increase loudness introduce ducking.

Shift + Turn Blue Shift + Turn Ochre

Stereo Link Stereo Link

Links and adjusts both Links and adjusts both
left and right side left and right side
balance together. Both balance together. Both
sides adjust relative to sides adjust relative to
their current setting. their current setting.

The current audio level for each track is also shown on the track meter for
each of the tape tracks.

178 The OP-1 Field Notebook : Reference & Guide

 Mixer 7
NOTES

The stereo channels out can be controlled individually or as a linked single

stereo audio channel. The drive function operates as a compressor driving
loudness by narrowing the high peaks and low troughs in the audio level.
The drive function release time controls the speed of narrowing the highs
and lows and at longer release times can create a pumping effect.

▌ADJUSTING THE MASTER OUT

1. Press [Mixer] to select the mixer output section.

2. If not already displayed, Press [T4] to view the master out page.

3. The stereo channels can be adjusted individually or linked together and

changed relative to their original value. Adjust the sound by ear to
reach a desired setting.

• Turn (Blue) to adjust the left channel only.

• Turn (Ochre) to adjust the right channel only.

• Press [Shift] and Turn (Blue) or Turn (Ochre) to change both left
and right channels relative to their original setting.

▌SETTING THE DRIVE FUNCTION

1. Press [Mixer] to select the mixer output section.

2. If not already displayed, Press [T4] to view the master out page.

3. The drive function operates like a compressor increasing loudness.

Pushing this hard can also add distortion to the entire mix or when used
more subtly, can add a texture and character to the sound. The
compromise is that the dynamic nature of the sound may be reduced.

4. Iterate the adjustment of the drive and release settings to achieve a

desired result.

• Turn (Grey) to apply the Drive function 0-99. High levels may add
grit and distortion. Medium add warmth and character. Perceived
loudness can be increased.

• Turn (Orange) to set the release time 1-300. This affects the speed
of the drive application. Pumping sound can be introduced at mid-
long release times.

The OP-1 Field Notebook : Reference & Guide 179

 7 Mixer
7.6 Memory Keys and the Mixer NOTES

The Memory keys M1 and M2 can be used to memorise and recall

parameter settings for the mixer functions. This is a great way to create
punch-in effects by switching between stored settings and current settings
on the fly.

▌MEMORISING AND RECALLING MIXER SETTINGS

1. Press and hold [7] M1 or [8] M2 through the process. The Memory
buttons are located in the tape tricks section and can store parameter
settings which can then be recalled later.

2. While holding a memory button, adjust a parameter. This can be any

parameter in:-

• The track mixer level.

• The track mixer pan setting

• Any of the EQ page parameter settings.

3. Release the held [7] M1 or [8] M2 key. The parameter settings are
stored, but releasing the memo button will revert the parameters to the
settings pre memorisation in step 2 above.

4. To apply and punch-in the stored settings, Hold the memory key [7] M1
or [8] M2 to return to the memorised settings for that key.

5. While ever the memory key is held the stored settings will be applied.

2 3 4 5 6 7 8
OUT

180 The OP-1 Field Notebook : Reference & Guide

 Mixer 7
NOTES

The OP-1 Field Notebook : Reference & Guide 181

 NOTES

182 The OP-1 Field Notebook : Reference & Guide

 8
Sampling & Audio
Audio sampling has been around for a long well as the synth and drum destinations,
while, originally developed in the 1940’s for sampling can also be performed to tape.
experimental projects and later gained Sampling sources include internal sampling
common and wide scale recognition through from within the OP-1F indicated by the ear
the 80’s. Sampling is the creative technique of symbol, the internal FM Radio, USB Audio and
capturing audio snapshots which can then be from the built in internal mic or from a device
used in the process of creating new plugged into the line in connector. Although not
compositions. Sampling is now accepted as an essential, the built in FM Radio works best with
integral technique in modern music making an antenna plugged into the red 3.5mm line
and the OP-1F embraces this in its own unique input. This will help receive a better quality FM
and quirky way. The OP-1F offers a number of broadcast signal. Try using a set of headphones
sampling options including the drum sampler or an audio cable to act as an antenna if the
and the synth sampler. The synth sampling official accessory is not available. The ability to
engine can hold a sample with a maximum of directly connect audio in and out via the USB-C
6 seconds while the drum sampler engine has connection is particularly useful for connected to
a maximum length of 20 seconds. The synth a PC/Mac based DAW. While the OP-1F may be
sample is played by the keyboard at chromatic a world away from the 1970’s Fairlight CMI
pitch intervals while the drum samples are Sampler, the variety of its sampling sources and
segmented into slides from within the 20 destinations open up a realm of creative options.
second sample. These slices are mapped to Considering all this operates in such a small and
each keyboard note key. This can be used to portable footprint, it is a perfect companion both
build drum kits played using the keyboard. As in the studio and in the field.

The OP-1 Field Notebook : Reference & Guide 183

8 Sampling & Audio
8.1 Audio Sources NOTES

There are multiple audio sources for the OP-1F which can be used to
capture both external audio input and to resample internal audio.

Microphone
1 Internal microphone

Audio Out
3.5mm Jack
4

Audio In
2 3 4 5 6 7 8
3.5mm Jack
3
I 2 3 4 IN OUT

USB-C
Includes Audio
5
Shift
field

2 Internal Audio
Re-sampling

Audio Input
Interface Audio Source Description
Internal microphone, ideal for external
1 External Internal Microphone
vocals and live sound recording.
Audio that is sent to the main output can
2 Internal Out to In be resampled internally
External audio from a connected synth
3 Audio In Jack Line In
or sound module via the 3.5mm Jack In
Antenna can be connected to Audio In
3 Audio In Jack FM Radio
to aid Internal FM radio reception.
The output is a TRRS jack which can
4 Audio Out Jack Headset
also accept audio in from a TE headset.
Audio over USB. Ideal for connecting a
5 USC-C External Audio Digital Audio Workstation via a PC / Mac

Only one input can be selected and used for recording and sampling. A
device will need to be connected for the external jacks and USB to be
active in the sampling process.

The internal options include the internal microphone, located top left and
also to record audio that is sent to the master out named ‘Out to In’. Also
the internal FM radio can be used as a source. For best performance,
although not essential try connecting an antenna into the line in jack. It may
be possible to use a cable or headphones as the antenna.

184 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

The audio input source and settings can be viewed and changed in the
input function accessed by [Shift] + [Mic]. This area also includes the audio
input gain and threshold. The audio can be turned on and off with [Mic]

[Shift] + [Mic] 0.0

Press [Mic] to select On/Off

OP- MIC 87.50 USB OUT-IN

TRIG

1 3 5 4 2 3
Input Options Mic FM Radio USB Headset Out to In Line In

▌SELECTING INPUT SOURCE

1. Press [Shift] + [Mic].

2. Turn (Blue) to choose an option. The external options available will

depend on the connected devices. Select between Mic (internal, line in
or headset if connected), FM Radio, Internal Out to In (ear symbol) or
USB for compatible USB Audio devices (USB Symbol).

3. The selected option will be highlighted, others will be dimmed and

disconnected options may not displayed.

▌TURNING INPUT SOURCE ON/OFF

1. Any page on the OP-1F can be active. For example, Synth, Drum, Mixer
and Sequencer pages.

2. Press [Mic]. The Audio source is toggled on or off. A symbol is

displayed to indicate the command selected.

The OP-1 Field Notebook : Reference & Guide 185

8 Sampling & Audio
NOTES

▌ADJUSTING LINE INPUT SETTINGS

1. Press [Shift] + [Mic] to open the audio settings page.

2. Connect a line input device, for example an external synth to the line in
jack. The Line Input is the lower of the two 3.5mm Jacks located on the
left side panel of the OP-1F.

3. The Mic symbol on the page will change to display a Jack plug.

4. Set to ‘Stereo’ or ‘Mono’ audio input. Turn (Ochre) to switch between

stereo and mono. The active option is displayed under the jack symbol.

5. To adjust the gain between -64 to +31, Turn (Orange). This will be
adjusted based on the audio level received on the input.

6. To adjust the trigger, turn (Grey). This is typically set with respect to the
audio incoming level and acts as the threshold level for recording to a
synth or drum sampler.

▌USING THE FM RADIO INPUT

1. Press [Shift] + [Mic] to open the audio settings page.

2. Connect an antenna to the line input device. If an antenna is not

available try using a loose, open ended cable or a device such as
headphones to act as an antenna. An antenna is advised but signals
may be also received without it. Note that with an antenna connected
the FM radio can also be set to transmit (detail explained elsewhere).

3. Turn (Blue) to highlight and select the FM Radio.

4. To adjust the tuning frequency.

• Turn (Ochre) to manually tune the frequency.

• Press (Ochre) to autotune by scanning the frequency range,

stopping at a point when a strong signal is reached. Use iteratively
to find a desired channel.

• The current frequency is displayed below the radio symbol.

186 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

▌ADJUSTING GENERAL GAIN & THRESHOLD SETTINGS

1. Press [Shift] + [Mic] to open the audio settings page.

2. Select the input option required, Turn (Blue).

3. To adjust the gain between -64 to +31, Turn (Orange). This will be
adjusted based on the audio level received on the input.

4. To adjust the trigger, turn (Grey). This is typically set with respect to the
audio incoming level and acts as the threshold level for recording drum
and synth sampler audio.

Gain Setting -64 to +31 0.0

Gain range

Active Audio In Level

Recording Level Threshold*

TRIG

* Recording Level Threshold

The threshold sets the trigger level for recording when working with the drum
and synth sampler / snapshots. Recording to tape ignores the threshold setting.
Audio which exceeds the threshold will initiate recording start when armed.

The OP-1 Field Notebook : Reference & Guide 187

8 Sampling & Audio
8.2 Sampling Audio Overview NOTES

Sampling basically means the recording of parts or all of an audio source.

The section assumes the source is connected as needed and selected as
a pre-requisite to sample recording. Sampling can be undertaken to tape or
into the synth or drum sampler engines.

Inputs & Outputs

External Gear Connections

Tape
1 Record to Tape

Synth I 2 3 4 2 3 4 5 6 7 8

2 Record to Sampler
IN OUT

Drum Shift

3
field

Record to Sampler

Internal Audio
Re-sampling

Sampler
Sampling Function Description
Sample from an audio source into a tape track. Sample time
1 Tape Tracks
is up to 6 Minutes per tape track.
Sample from an audio source into the synth sampler.
2 Synth Sampler
Sample time is up to 6 Seconds per sample.
Sample from an audio source into the drum sampler.
3 Drum Sampler
Sample time is up to 20 Seconds per sample.

The destination choice will be determined by several factors including the

length of sample to record and how it will be used i.e. as single a collection
of drum or percussion samples or as a single synth note.

188 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES 8.3 Sampling to Tape
Audio from a selected audio source can be sampled to one of the tape
tracks. Each track can store up to 6 minutes of recording time which is
good for longer recordings. Note that audio can be resampled from tape to
another function later if required.

Line In
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

[Rec] + [Play] Audio Out

KORG
mmmmmm mmm mm

1 0:03:12 mmmm

mmm mm
mm mm

mmmm
mm m mm mm mm mmm mm mmm mm mm mm mmm mm mmm mm mmm mm mmm mm mmm
mmm mmm mm mm m mmm mm mmm mmm mm mm mm mmmmm mmmm mm mmm mm mmm
mmmm mm m mmm mm mm mm m mm mm mmm mm mmm mm mmm mm
mm mm mm mmm mm mmm mm mm mm mmm mm mmm mm mm m mmm mmm mm mmm
mmm mm mmm m mmmm mm mm mm mm mmmm mmm mmmmm mm mmm mm mmm mm mmm
mm mmmm mm mmm mm mmm mmmm m mm mmm mm mmm mm mmm mm mmm mm mmm
mmm mmmm mmmm mmm mm mm mm mmmm m mm mmm mmm mmm mm mmm mm mmm
mmmm mmm mm mmm mm mmm m mmmm mm mmm mm m m mm
mm m mm mm mmm mm mm mmmm mm mmm mm mmm
mmm mmm mm mmm mm mmm mmm mmmm mm mmm mm mm mm m
mm mmmm mm mm mm mm mm mm mm mm mm m mmm
mm mmm mm mmm mm mmm mm mmm mm mmm mmmmm mm mmm mm mmm
mmm mmmm mmmm mmm mmm mm mm mmm mm mmm mm mmm mm mm mm mm
mmm mmm mm mm mm mm mm mm mmmm mm mm mmmm mm mmm mmmm
mmmm mmmm mm mmm mm mmm mm mm mmm mmmm mm mmm mmm mm mmm mm mmm mm mmm

100%

▌AUTOMATICALLY SAMPLING EXTERNAL AUDIO TO TAPE

1. Press [Shift] + [Mic] to open the audio input page.

2. Turn (Blue) to select an audio input. Ensure the external device to

sample from is connected to the OP-1F.

3. Set the input configuration parameters. Turn (Orange) to adjust the gain
and boost the input level. For an external line input stereo or mono can
be selected by turning (Ochre). The threshold is ignored for tape.

4. Press [Tape] to select the tape as a recording destination.

5. Select a tape track [T1], [T2], [T3] or [T4] to record into. The recording
head location can be adjusted by turning (Blue). Hold [Stop] + [Left] to
ensure the recording head is at the start or move to a tape marker.

6. Turn the audio Input ON. The mic button [Mic] toggles the audio source
on or off. The display will show the input state when pressing [Mic].

7. To start recording, Hold [Rec] + Press [Play]. Recording will start

immediately from the current playhead position.

8. Press [Stop] to stop recording or [Play] to stop recording and still play.

9. Any subsequent recordings over the same tape location will overdub.
This will retain existing recordings and add the new recording.

The OP-1 Field Notebook : Reference & Guide 189

8 Sampling & Audio
NOTES

Manual recording offers a little more control over the recording controls and
helps to precisely start a recording.

▌MANUALLY SAMPLING EXTERNAL AUDIO TO TAPE

1. Press [Shift] + [Mic] to open the audio input page.

2. Turn (Blue) to select an audio input. Ensure the external device to

sample from is connected to the OP-1F.

3. Set the input configuration parameters. Turn (Orange) to adjust the gain
and boost the input level. For an external line input stereo or mono can
be selected by turning (Ochre). The threshold is ignored for tape.

4. Press [Tape] to select the tape as a recording destination.

5. Select a tape track [T1], [T2], [T3] or [T4] to record into. The recording
head location can be adjusted by turning (Blue) or hold [Stop] + [Left] to
ensure the recording head is at the start.

6. Turn the audio Input ON. The mic button [Mic] toggles the audio source
on or off. The display will show the input state when pressing [Mic].

7. To arm recording, Press [Shift] + [Rec]. The display will be lit red but
tape is paused and ready for recording.

8. To trigger the recording start:-

• Press [Play]. Recording will start immediately play is pressed. Try

holding a note before starting record to capture it.

• Press [Mic]. Recording will start immediately mic is pressed. Ideal

for starting recordings when turning audio on.

• Turn (Blue) Knob to crank the tape speed manually and record at
the speed of rotation. Also try changing the tape speed to
experiment with interesting recording techniques.

9. Press [Stop] to stop recording or [Play] to stop recording while playing.

10. Any subsequent recordings over the same tape location will overdub.
This will retain existing recordings and add the new recording.

190 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

Re-sampling records the internally available audio. Tape recordings can be

re-sampled from one track to another as an example, although the option
to ‘lift’ and ‘drop’ also allows copying of audio between tracks. In this
example track 1 is the audio source and track 4 the recording destination.
Note that the merge drop option can also be used to bounce all lifted
regions to a single merged audio track and will include mixer settings.

▌RE-SAMPLING INTERNAL AUDIO TAPE TO TAPE

1. Press [Shift] + [Mic] to open the audio input page.

2. Turn (Blue) to select ‘Out to In’ audio input, indicated by the ear symbol.
Ensure the audio is turned on, Press [Mic].

3. Set the input configuration parameters. Turn (Orange) to adjust the gain
and boost the input level. The threshold is ignored for tape.

4. Press [Tape] to select the tape as a recording destination.

5. Mute the tracks that are not required to be recorded. Select and mute
tape tracks e.g. [Shift] + [T2] and [Shift] + [T3]. This toggles mute on/off.

6. Position the tap to the start point for recording.

7. Select a tape track as a recording destination e.g. Press [T4].

8. To start recording, Hold [Rec] + Press [Play]. Recording will start

immediately from the current playhead position. It is also possible to
record manually by arming, [Shift] + [Rec] and then pressing [Play].

9. The audio on Track 1, which is not muted, and its effects will play.
Recording of the output will be performed, in this example to Track 4.

10. Press [Stop] to stop recording or [Play] to stop recording while playing.

11. Any subsequent recordings over the same tape location will overdub.
This will retain existing recordings and add the new recording.

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

Tape Track 1 Tape Track 4

Audio Playback to Main Out Main Out Audio Recorded to Track 4

The OP-1 Field Notebook : Reference & Guide 191

8 Sampling & Audio
8.4 Sampling to a Drum Sampler NOTES

Audio can be recorded into a drum sampler / snapshot. Drum sampler can
hold up to 20 seconds of audio. The source can be selected from the
external or internal options. A drum kit can then be assembled by mapping
sections of a single sample to each of the keyboard notes.

Line In
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

Hold [Note] & Trigger when over the threshold Audio Out

F2
L

Record
R

▌SAMPLING AUDIO TO A DRUM SNAPSHOT

1. Press [Shift] + [Mic] to open the audio input page.

2. Turn (Blue) to select an audio input. Ensure the external device to

sample from is connected to the OP-1F. Also use the internal mic. If
selecting ‘Out to In’ ensure tracks are muted that don’t need be
recorded as this method captures all output audio.

3. Set the input configuration parameters. Turn (Orange) to adjust the gain
and boost the input level. For an external line input stereo or mono can
be selected by turning (Ochre).

4. Set the threshold level which will trigger recording start when the audio
source exceeds the threshold level. Turn (Grey). By previewing the
audio a threshold can be identified. A threshold point slightly below the
audio source level peak should work ok.

5. Press [Drum] to select the drum engine.

6. If not already selected, Hold [Drum] + [T1] to open the drum engine
browser. Select ‘Snapshot’ or ‘Drum’ as a recording destination.
Alternatively Press [Shift] + [1] to [8] to select a sample based preset.

192 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

7. Press [Mic] to display the audio inputs and prompt ‘To Sample’.

8. Hold a keyboard [Note] to arm recording and to select stand by mode.

9. Activate the selected audio source input. For example talk into the mic
or play a note on an externally connected device.

10. Sample recording will commence when the audio exceeds the
threshold level.

11. Recording will continue for a maximum of 20 seconds and a recording

complete message displayed. If the [Note] key is released earlier,
recording is stopped at the point of release.

12. If desired, the sample can be edited. As this is a drum sampler a default
mapping of sample slices to note keys will be generated.

13. Hold a preset key [1] to [8] to store the Drum preset and save the
sample to the ‘Snapshot’ folder.

0.0 Keep hold of a [Note] key.

TO SAMPLE Select [Mic] and then Hold a note key to
sample. Releasing the key will stop any
active recording.
OP- MIC 87.50 USB OUT-IN

TRIG

Awaits threshold to be exceeded.

STANDBY Adjust the threshold to set the recording
trigger point.

Recording commences.
RECORDING! Once the threshold is exceeded by the
SEC
audio source, recording starts. Recording
ends at 20 Sec or when key is released.
0 3 7 10 13 17 20

Save to a preset.
I 2 3 4 5 6 7 8
IN OUT Saving a preset will save the sample to
the snapshots folder.

Note that it is possible the ‘lift’ an audio sample for example from a section of tape and
then to ‘drop’ this audio into the sampler.

The OP-1 Field Notebook : Reference & Guide 193

8 Sampling & Audio
8.5 Sampling to a Synth Sampler NOTES

Audio can be recorded into a synth sampler / snapshot. Synth sampler can
hold up to 6 seconds of audio. The source can be selected from the
external or internal options. A sample can form the instrument where the
note keys play chromatically based on the sample sound.

Line In
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

Hold [Note] & Trigger when over the threshold Audio Out

Record
R

▌SAMPLING AUDIO TO A SYNTH SNAPSHOT

1. Press [Shift] + [Mic] to open the audio input page.

2. Turn (Blue) to select an audio input. Ensure the external device to

sample from is connected to the OP-1F. Also use the internal mic. If
selecting ‘Out to In’ ensure tracks are muted that don’t need to be
recorded as this captures all output audio.

3. Set the input configuration parameters. Turn (Orange) to adjust the gain
and boost the input level. For an external line input stereo or mono can
be selected by turning (Ochre).

4. Set the threshold level which will trigger recording start when the audio
source exceeds the threshold level. Turn (Grey). By previewing the
audio a threshold can be identified. A threshold point slightly below the
audio source level peak should work ok.

5. Press [Synth] to select the synth engine.

6. If not already selected, Hold [Shift] + [T1] to open the synth engine
browser. Select ‘Snapshot’ or ‘Sampler’ as a recording destination.
Alternatively Press [Shift] + [1] to [8] to select a sample based preset.

194 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

7. Press [Mic] to display the audio inputs and the prompt ‘To Sample’.

8. Hold a keyboard [Note] to arm recording and to select stand by mode.

9. Activate the selected audio source input. For example talk into the mic
or play a note on an externally connected device.

10. Sample recording will commence when the audio exceeds the
threshold level.

11. Recording will continue for a maximum of 6 seconds and a recording

complete message displayed. If the [Note] key is released earlier,
recording is stopped at the point of release.

12. If desired the sample can be edited. As this is a synth sampler the
selected part is used chromatically as a note source for the synth.

13. Hold a preset key [1] to [8] to store the Synth preset and save the
sample to the ‘Snapshot’ folder.

0.0 Keep hold of a [Note] key.

TO SAMPLE Select [Mic] and then Hold a note key to
sample. Releasing the key will stop any
active recording.
OP- MIC 87.50 USB OUT-IN

TRIG

Awaits threshold to be exceeded.

STANDBY Adjust the threshold to set the recording
trigger point.

Recording commences.
RECORDING! Once the threshold is exceeded by the
SEC audio source, recording starts. Recording
0 1 2 3 4 5 6
ends at 6 Sec or when key is released.

Save to a preset.
I 2 3 4 5 6 7 8
IN OUT Saving a preset will save the sample to
the snapshots folder.

Note that it is possible the ‘lift’ an audio sample for example from a section of tape and
then to ‘drop’ this audio into the sampler.

The OP-1 Field Notebook : Reference & Guide 195

8 Sampling & Audio
8.6 Audio Output NOTES

The main audio output options other than the internal speaker are the
audio output 3.5mm jack, USB Audio and the FM Radio transmitter.

Speaker
1 Internal Speaker

Audio Out
3.5mm Jack
2

2 3 4 5 6 7 8
I 2 3 4 IN OUT

USB-C
Includes Audio
3
Shift
field

FM Antenna
FM Transmission
Internal Audio
Mixdown 5 4

Audio Output
Interface Audio Source Description

1 Internal Master Out Internal speaker for master output.

Connect OP-1F to headphones,

2 Audio Out Jack Master Out
speakers, recorders or other gear
Connect audio from OP-1F to other
3 USB-C Master Out audio compliant USB devices.
Internal antenna to transmit audio
4 FM Transmit Master Out played through the FM transmitter
Internal app to bounce audio to single
5 Mixdown Master Out audio files.

The OP-1F Master Output is the main audio output from the device. The
‘Out to In’ Audio source also picks up the master out. The master audio can
include tape tracks which can also be muted and audio can also be mixed
down to an individual file.

Two dedicated applications exist within the output [Com] function:-

• FM Antenna - Transmit Audio over FM

• Mixdown - Bounce down audio to two Side A/B files

196 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES 8.7 FM Radio
The OP-1F contains a built in FM radio transmitter and receiver. This can
be manually or automatically tuned and used to pick up and record FM
signals. The FM function also has the unique feature of being able to
transmit the audio out from OP-1F on the active FM frequency channel.

FM Receiver

The FM Radio is found in the audio input options. This can be selected as
the audio input source and tuned within a range of frequencies.

Audio In FM Transmissions

89.30

▌SELECTING & TUNING THE FM RECEIVER

1. Press [Shift] + [Mic].

2. Turn (Blue) to choose the ‘FM Radio’ option.

3. Turn (Ochre) to manually adjust the FM frequency tuning between

87.50 and 108.00 MHz.

4. Alternatively, Press (Ochre) to automatically scan the range and select

the next available transmission.

5. If required the gain can be adjusted to boost or attenuate the signal

level. Turn (Orange).

6. Press [Mic]. The Audio source is toggled on or off. A symbol is

displayed to indicate the command selected.

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8 Sampling & Audio
NOTES

FM Transmitter

The FM Transmitter will use the current frequency selected to transmit the
currently playing OP-1F audio i.e. playing a synth. Ideally use an open
frequency channel and tune another device to this to receive. Use another
OP1 or handheld radio. A Teenage Engineering OB-4 Magic Radio in the
vicinity will be automatically detected and an OB-4 symbol will be
displayed. Synchronise the OP-1F and OB-4 Magic radio by pressing [T3].

Currently playing audio will be transmitted as a signal on the defined frequency band

Audio Out FM Transmissions

96.10

▌TRANSMITTING AUDIO USING THE FM RECEIVER

1. Press [Com] to open the output function.

2. Turn (Blue) to choose the ‘FM Transmitter’ option.

3. Press [T2] or Press (Ochre) to select a transmission FM Frequency.

Turn (Ochre) to fine tune the FM frequency. Range is between 87.50
and 108.00 MHz.

4. To begin broadcasting, Press [T1] ‘Live’ or Press (Blue) knob. Pressing

[T1] again will toggle to stop broadcasting. The transmitter icon will
display the broadcast animation when live.

5. Tune the external device to the transmitting frequency. For example if

96.10 is set to transmit, tune the external radio to 96.10. The external
device must be able to receive FM Frequency transmissions.

6. If a Teenage Engineering OB-4 Magic Radio is in the vicinity this will

automatically be detected and the OB-4 symbol will replace the
transmitter icon. Press [T3] to sync between the OP-1F and the OB-4.

198 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES 8.8 Output Mixdown
The output function allows a full audio file to be captured by bouncing all
the individual tracks to a single stereo file or to capture live audio ad libs.
This process is called the mixdown. This is visualised in the output function
by recording to the two sides, A & B of a vinyl record. The two mixdown
files are 6min duration and can be accessed from the OP-1F via USB.

COM [Com] OUTPUT

Turn (Blue) to select Mixdown
0:00 A

MIXDOWN 103.30

▌MIXDOWN INTERNAL AUDIO

1. Press [Com] to open the output function.

2. Turn (Blue) to choose the ‘Mixdown’ option if not already selected. For
the fun of it, mixdown is illustrated as Side A and B of a Vinyl record.

3. Press [T3] or Press (Grey) to switch recording slots / sides between ‘A’
or ‘B’. The active slot is illustrated in the record centre and on the T3
label display. Each slot / side is 6 Minutes in length, time illustrated to
the left of the record.

4. To begin recording, Press [T4] or Press (Orange) knob. The recording

timer will commence in red.

5. The Master Out will be immediately recorded. Switch to the function to

record, for example play a synth or play the tape tracks. Audio as
played or manipulated will be recorded.

6. Switch back to the [Com] page for further edits.

7. To stop recording, Press [T2] or Press (Ochre). Recording will stop and
the file automatically saved.

8. To play the current vinyl record side / slot, Press [T1] or Press (Blue).
This will always commence from the start.

9. To stop playback, Press [T2] or Press (Ochre). Playback will stop.

The OP-1 Field Notebook : Reference & Guide 199

8 Sampling & Audio
8.9 Audio Application Examples NOTES

Connectivity and options available in the OP-1F for audio inputs and
sampling are wide ranging and advanced. Audio over USB, Line input,
internal microphone and re-sampling the internal audio are all possibilities.

iPad as a USB Audio Input Source

Modern iPads use a USB-C connector, the same as the OP-1F. This makes
connectivity simple and easy. Earlier iPads and iPhones use lightening
connections. A converter or USB hub would therefore be required. Apple
recommend their camera connection kit. Hubs can be more problematic
when connecting USB especially for Audio so ensure compatibility. A
powered hub is recommended. Devices must be USB audio compliant.

Audio Input Settings

Hold [Shift] + [Mic], Then Turn (Blue) to select ‘USB’
Press [Mic] to turn the Audio Input selected, On or Off

USB-C
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Audio In
Shift
field

USB-C

Audio Out

An audio app can be used to transmit audio to the OP-1F, in this example
MSXII Sound Design’s Chomplr App. Other USB Audio compliant devices can
be used to transmit audio to the OP-1F.

200 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

Audio Interfacing to Ableton Live

Ableton Live is a Digital Audio Workstation or DAW used to produce

complete song productions from recording audio in, developing internal
MIDI instruments tracks and bouncing a complete song as output.
Therefore the OP-1F can interface to the DAW’s tracks to record audio to
and from the OP-1F. Note that this could also be configured with the MIDI
Interface where Ableton Live can control the OP-1F notes by MIDI while
recording its audio.

Ableton Live hosted on a Macbook controlling the OP-1F Notes

and then recording audio from the OP-1F into a Live track

1 MIDI OP-1F 2 OP-1F Audio

USB-C

Midi Out / Audio In

MIDI From Audio From
All Ins Ext. In Macbook
All Channels 1/2 Ableton Live ‘Preferences’
Monitor Monitor Audio input device as OP-1 (2 In 2 Out)
In Auto Off In Auto Off MIDI Ports for OP-1 Track & Sync On
MIDI To Audio To Connect via the USB cable.
OP-1 Master
Ch. 1

Sends
A
B

-4.30
MIDI Audio
0

12

24
1 2
36
s s 48
60

Track 1 Track 2
MIDI Out Audio Input
MIDI Channel 1 1/2 Stereo In

USB-C
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
MIDI In /Audio Out
field

OP-1F Set to MIDI Channel 1: Hold [Shift] + [Com] > MIDI

Synth or Sound loaded or Tape set to record from

The OP-1 Field Notebook : Reference & Guide 201

8 Sampling & Audio
. NOTES

Using the M-1 Headset

The Teenage Engineering M-1 headset is an integrated microphone and

headphone device. This interfaces perfectly with the OP-1F both with the
headphones and the microphone using the 3.5mm Audio Out jack.

Audio Input Settings

Hold [Shift] + [Mic], Then Turn (Blue) to select ‘Headset’

Press [Mic] to turn the Audio Input selected, On or Off

Audio Out

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

It may seem obvious to connect headphones to an Audio Output Jack. What seems odd is
the use of Audio Out Jack for connecting audio in. However in the OP-1F, the Audio Out
Jack accepts 3.5mm Mini Jack TRRS, meaning both audio out and audio in are available.
In this example the microphone is fully integrated as an external audio source in the OP-1F.

Tip Ring 1 TRRS 3.5mm Jack

Headphones Headphones Tip, Ring, Ring, Sleeve
Audio Left Side Audio Right Side Audio Out

Ring 2 Sleeve
Mic & Headphones Microphone
Ground Audio

Splitter cables are also available generally in the market that will separate the Mic and
Headphone connected from a TRRS to two individual TRS sockets. This will allow the use
of other headphone and mic gear. This is a common feature with PC computer audio.

202 The OP-1 Field Notebook : Reference & Guide

 Sampling & Audio 8
NOTES

General Audio from Synth or Drum Machine

The OP-1F line input is a 3.5mm TRS Mini Jack which accepts stereo
audio. This is the lower connector on the left side. This will be used for
generally connecting line input devices such as synths. High Impedance
devices such as a guitar and some microphones would need an additional
interface and or DI box.

Audio Input Settings

Hold [Shift] + [Mic], Then Turn (Blue) to select ‘Line In’

Press [Mic] to turn the Audio Input selected, On or Off

Audio In
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

nordlead A1
analog modelling synthesizer

Audio outputs from external devices will vary. These could be stereo or mono outs. Synths
would all usually operate at a line level and connect ok to the OP-1F. The device would
need to be manually played or triggered by MIDI to generate the audio.

The OP-1 Field Notebook : Reference & Guide 203

 NOTES

204 The OP-1 Field Notebook : Reference & Guide

 9
MIDI & Sync
The OP-1F has a number of features that help Hub needed to adapt to the connector types?
synchronise and connect to external The OP-1F also has a BLE connectivity option.
equipment and MIDI devices. This allows the BLE is Bluetooth Low Energy, a light version of
control over external gear such as a synth, the bluetooth standard. BLE compatible devices
drum machine or PC/Mac hosted DAW. MIDI will allow short range wireless connectivity
stands for Musical Instrument Digital Interface between audio gear. While MIDI operates to a
and is a technology that has been around set of standards and rules, there are still some
since the early 1980’s and sets the protocol variations in its implementation. Many
standards for communication between musical manufacturers may only implement part of the
gear. Musical notes, parameter controls, protocol features and standards. The wide range
program changes, velocity etc can all be of gear and options therefore means that
communicated over MIDI. The OP-1F can also application examples in this section should be
be controlled from other MIDI devices. This is used purely for guidance only. Always take care
useful when using external keyboards or when connecting between devices to avoid gear
sequencers. The primary connectivity option is damage. It is always good practice to ensure
the USB-C connector which can be set up for there is compatibility between hardware, cables
transmitting and/or receiving MIDI messages and devices. Check the gear manufacturers
and notes. Audio gear typically uses 5-Pin official manuals and documentation to ensure
MIDI DIN style connections and a variety of compatibility and safe connectivity.
USB option types. It is important to consider
how devices are physically connected. Is
power supply required through USB? Is a MIDI

The OP-1 Field Notebook : Reference & Guide 205

9 MIDI & Sync
9.1 MIDI Settings NOTES

The OP-1F primary MIDI connection is the USB-C where MIDI over USB
as opposed to a traditional 5-Pin MIDI connector is the main interface. The
OP-1F also has a BLE, Bluetooth Low Energy interface for wireless
connectivity of MIDI for short distances.

COM [Shift] + [Com]

Press [T1] to select MIDI MIDI CH I

CLOCK IN

NOTES BOTH

OTHER BOTH

BACK

MIDI Page Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

MIDI Channel Clock Notes Other

Sets the MIDI Send or receive MIDI Respond to or send. Respond to or send.
Communication Clock. Set to Off, In, MIDI notes. Set to Off, other MIDI messages
channel 1-16. Out or Both. In, Out or Both. including CC and
Modwheel. Set to Off,
In, Out or Both.

▌SETTING THE MIDI CONFIGURATION

1. Hold [Shift] + Press [Com] to open the com functions.

2. Press [T1] to choose the ‘MIDI’ option. If required Press [T1] again to
backup to the com page.

3. Turn (Blue) to set a MIDI Channel 1-16. This will be the channel that
MIDI will communicate on and will require and external device to be
matched to the same channel to be able to communicate.

4. Turn (Ochre) to set the MIDI Clock. This will synchronise OP-1F to an
external device clock or vice versa. Set to Off, In, Out or Both. Typically
one clock would be primary control while others are secondary
followers. If another device is the primary clock, OP-1F can be set to In.

5. Turn (Grey) to set the Notes behaviour. This will allow OP-1F to be
controlled by an external keyboard notes or OP-1F to control another
synth notes. Set to Off, In, Out or Both.

6. Turn (Orange) to set the Other behaviour for functions such as the CC
messaging and modwheel. Set to Off, In, Out or Both.

206 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES 9.2 External MIDI Controller
The OP-1F Can be controlled by an external controller. Notes can be
controlled by a keyboard or sequencer and by using the MIDI LFO for CC,
Control Change Messages. In addition synchronisation of transport and
tempo is also possible.

MIDI Controller Example

COM Hold [Shift] + [Com]

Press [T1] to select ‘MIDI’

MIDI Settings
Control Function Setting
(Blue) Channel 1
USB-C
(Ochre) Clock In I 2 3 4 IN
2
OUT
3 4 5 6 7 8

(Grey) Notes In

(Orange) Other In Shift

field

MIDI

MIDI USB Out Settings USB-C

Control * Function Setting shape groove tonal setup

Channel Channel 1 steps pulses

rotate
cycles division velocity
probability
sustain pitch
harmony
length
quantize
tempo

T-1 Config Clock On repeats time voicing range accent timing scale channel random
ramp pace style phrase groove delay root output rate

ctrl
copy
T-1 Config Notes On /1 /2 /4 /8 /16 /32 /64
clear
t|so
chrom

major

minor

penta

hira

iwato

tetra

user

save

select

T-1 Config Start / Stop On /3 /6 /12 /24 /48

bank pattern temp mute

A sequence created on the Torso Electronics T-1 will control the notes on the OP-1F as well as
the transport and tempo. The Torso T-1 Sequencer is powered via the USB-C which can also be
used for MIDI In/Out. The OP-1F will have capacity to power the T-1 in this example. * T-1 Config
is software tool used to configure the T-1 Settings, MIDI Channel can be set on the hardware.

3/Inc 1/16
2/Dwn 4/Exc 1/8 1/32
Seq (C)

ARTURIA
1/Up 5/Rand 1/4 1/4T

6/Order 1/8T Tap

7/Up x2 1/16T YOUR EXPERIENCE - Y OUR SOUND
Arp
8/Dwn x2 1/32T
Seq / Arp Mode Time Div Rate Rest / Tie Append Clear Last Restart

KEYSTEP CONTROLLER & SEQUENCER Keyboard MIDI CH Gate Swing

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 10% 25% 50% 75% 90% Off 53% 55% 57% 59% 61% 64% 67% 70% 73% 75%
HOLD SHIFT

Chord

USB HUB -
Transpose
RESET
+
Kbd Play

PITCH MOD

A MIDI Keyboard such as the Arturia Keystep or Minilab3 can also be used as an external
keyboard controller. The connectivity may use other types of USB and as such a USB Hub may
be required. It is recommended to use a powered hub in order to support the controller.

The OP-1 Field Notebook : Reference & Guide 207

9 MIDI & Sync
NOTES

Device List

When connecting and configuring an external hardware device, the OP-1F

logs and remembers it in the device list. This allows easy configuration and
switching between connected controller settings as well as monitoring the
status of the MIDI devices connected. Available settings are dependant on
the features of the devices connected.

COM [Shift] + [Com] DEVICES T-1

Press [T3] to select LIST MINILAB3 STATUS

CONNECTED
T-1
CLOCK OUT
NOTES BOTH
OTHER OFF

BACK

Device List Control Knobs

Turn Blue Turn Ochre Turn Grey Turn Orange

Select Device Clock Notes Other

Select from the list an Send or receive MIDI Respond to or send. Respond to or send.
available device to Clock. Set to Off, In, MIDI notes. Set to Off, other MIDI messages
connect Out or Both. In, Out or Both. including CC and
Modwheel. Set to Off,
In, Out or Both.

[T3] [T4]

Switch Parameter Options

Turn Ochre Turn Grey

Timestamp Velocity
Allows synchronisation Allows velocity values
of received clock to be received from
signal. the device.

Device List Buttons

Function Button Description

Back [T1] Backs up to previous page.

Parameter Set 1 [T3] Switches the parameter options

Parameter Set 2 [T4] Switches the parameter options

Forgets and deletes the currently selected

Forget [T2] device configuration. Only available if a
device is disconnected.

208 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

▌CHECKING THE MIDI DEVICE LIST

1. Hold [Shift] + Press [Com] to open the com functions. This command
will also exit the function when complete.

2. Press [T3] to choose the ‘List’ option. If required Press [T1] again to
backup to the previous page.

3. Turn (Blue) to select a device. Previously connected and configured

devices will be listed by the name assigned automatically by the device.

4. The device selected will show as ‘connected’ if it is connected and

active, or ‘disconnected’ if it has been registered from previous use.

5. The MIDI parameters, from the OP-1F perspective can be selected

assigned for the device.

• Turn (Ochre) to set the MIDI Clock for the OP-1F. Press [T3] to
switch to the Timestamp parameter for (Ochre), Press [T4] to return
to main parameters.

• Turn (Grey) to set the MIDI Notes for the OP-1F. Press [T3] to
switch to the Velocity parameter for (Grey), Press [T4] to return to
main parameters.

• Turn (Orange) to set MIDI parameters for CC, Modwheel etc.

6. To forget and delete the currently selected device, Press [T2]. The
config will be cleared. This option is only presented for devices that are
not currently connected to the OP-1F.

DEVICES MINILAB3
T-1 STATUS

DISCONNECTED
MINILAB3
CLOCK OUT
NOTES OUT
OTHER OUT

BACK FORGET

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9 MIDI & Sync
9.3 MIDI Control of External Gear NOTES

The OP-1F Can control external devices and DAW’s. Notes, clock and
transport can be controlled from the OP-1F. Control Change Messages can
also be transmitted from the 4 rotary knobs.

MIDI Output Example

COM Hold [Shift] + [Com]

Press [T1] to select ‘MIDI’

Ableton Live hosted on a Macbook controlled by the OP-1F. Notes

can be recording as clips into a Live track.

1 MIDI OP-1F
Link EXT TAP
102.00 Ableton Live EXT On

Ableton Live MIDI Preferences

MIDI Ports Track Sync Remote MPE
In: OP-1

MIDI From MIDI Clock Sync Delay: 0.00 ms

OP-1
Sync Type: MIDI Clock
Ch. 16

Monitor MTC Frame Rate: All

In Auto Off
MTC Start Offset 00 : 00 : 00 : 00
Audio To
Master Out: OP-1

1 USB-C
s Track 1
MIDI In - Chan 16
Audio Out

MIDI

MIDI Settings
Control Function Setting
(Blue) Channel 16
USB-C
2 3 4 5 6 7 8
I 2 3 4
(Ochre) Clock Out IN OUT

(Grey) Notes Out

Shift

(Orange) Other Out field

OP-1F Channel Out i.e. 16 and Notes set to Out are important to send a MIDI Pattern. To
control transport set Clock to out and ensure the Tempo section is set correct i.e. ‘Beat Match’

210 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

Control Mode

An alternative option is to use the OP-1F Keyboard and Knobs as a direct

MIDI controller for other gear. This is Control or CTRL Mode. This is useful
if manual control over an external synth or DAW is required. Note that the
knobs operate to defined CC channels 1,2,3 & 4 and the destination would
need have the ability to be set or be mapped to these CC numbers.

COM [Shift] + [Com]

Press [T2] to select CTRL Hold [Shift] to access the settings

MIDI CH 0I

KNOBS ABS

OCTAVE ON

Control Mode Parameter Knobs

Turn Blue Turn Ochre Turn Grey

MIDI Channel Knobs Octave

Sets the MIDI Set the operating Set the left / right
Communication mode to relative or control to transpose
channel 1-16. absolute the keyboard On or
Off.

The OP-1F will control an externally connected device on the same MIDI
Channel. The keyboard transposition function can also be turned off or on.

The Knobs will send MIDI Control Change messages which also can be set
to relative or absolute. The destination device may also have a takeover
mode setting so that the control picks up the value of the device when at
the same equal level or simply operates with a step change to the incoming
CC value. This should be checked with the connected device.

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9 MIDI & Sync
NOTES

When using the CC Knobs in control mode, the continuous control

message channels are fixed and the values will be transmitted. The Knobs
can be set to either absolute or relative. Absolute values transmit the actual
value between 0-127 increasing or decreasing the actual numerical value.
In Relative mode a value of 127 or 0 for increase and decrease
respectively. A receiving device will increment or decrement the numeric
value of destination parameter.

CC Channels
Turn Blue Turn Ochre Turn Grey Turn Orange

CC1 CC2 CC3 CC4

Sends a continuous Sends a continuous Sends a continuous Sends a continuous
control change value control change value control change value control change value
between 0-127 over between 0-127 over between 0-127 over between 0-127 over
CC Channel 1 CC Channel 2 CC Channel 3 CC Channel 4

Absolute adjustment of value Iterate from current value

-1 +1
0 127 0 127
Destination Value Destination Value

Absolute. Relative.
Sends the actual value between Sends 127 to increment or 0 to
0-127 to set at the destination decrement the value at the destination

0 127 0 127

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

OP-1F In CTRL Control Mode

212 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES 9.4 Wireless Connectivity with BLE
BLE or Bluetooth Low Energy is a slimline version of bluetooth technology
which allows short distance connectivity between BLE compatible devices.
The OP-1F has BLE capability and can therefore interface wirelessly
between MIDI applications and other compatible gear.

MIDI Wireless BLE Example

COM Hold [Shift] + [Com]

Press (Blue) to advertise on the BLE Network

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

BLE Broadcast

When OP-1F is advertising on the BLE Network other BLE devices

should be able to detect and connect to the OP-1F. Scanning the
network may need to be performed on the other device. The network
animation on the OP-1F display will be static when a connection is active

ADVERTISE

Inactive Advertising Connected

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9 MIDI & Sync
NOTES

The connection process for BLE will partly depend on the device being
connected. This example connects to an iPad App named AUM made by
Kymatica. This is an app which allows configuration and connection of
tablet based music applications in a single production environment.

▌CONNECTING TO AUM AND ASSIGNING A DESTINATION

1. Ensure an iPad loaded with Kymatica’s AUM App is available in close

proximity to the OP-1F. Ensure the iPad bluetooth is switched on.

2. On OP-1F, Hold [Shift] + Press [Com] to open the com functions. This
command will also exit the function when complete.

3. Press (Blue) to activate ‘Advertise’ mode. The animated broadcast

symbol is shown to indicate BLE is active and available to connect.

4. Open AUM on the iPad.

5. Within the AUM Menu, select ‘Settings’. Note that by default all MIDI
channels are used.

6. In the Wireless MIDI section, tap ‘Bluetooth Central’. This option is at

the bottom of the settings list. Also AUM can advertise with the
‘Bluetooth Peripheral’ option but in this example the OP-1F advertises.

7. The Bluetooth MIDI devices list should show ‘OP-1 LE’. This label will
be brightly lit but labelled ‘Not Connected’. Dimmed options are
previously connected devices that are not currently detected on BLE.

8. Tap ‘OP-1 LE’ and the connection should be established. The label will
show ‘connected’ and the OP-1F page will display a static BLE
broadcast symbol.

9. An iPad app can be loaded into AUM to be controlled by the OP-1F via
BLE. Tap the main ‘+’ symbol to add an audio app in AUM. Tap the
upper ‘+’ to select and add an app. In this example, retro piano app is
added into the track.

10. In the AUM Menu, select ‘MIDI Route’. In the MIDI routing Matrix tap
the intersection box between the OP-1 LE column and the Retro Piano
row. A routing patch will be made between the OP-1F and App.

11. Playing a keyboard note or running a sequence in the OP-1F will trigger
the AUM App across the established BLE MIDI network.

214 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

The OP-1F knobs can also send CC Over BLE MIDI. Some devices and
apps can be mapped to incoming MIDI CC messages. Extending the
previous example, knobs can be mapped to the Retro Piano App.

▌CONTROLLING CC WIRELESSLY

1. Open the Retro Piano App in the AUM on iPad.

2. The OP-1F should be in control mode to be able to use the 4 knobs as

dedicated CC controllers. Press [Shift] + [Com] and then press [T2].

3. Set the control knob behaviour to absolute, Hold [Shift] + Turn (Ochre)
and set to ‘ABS’.

4. In the Retro Piano app (or any app used), tap the MIDI Controls symbol
in the top left header. This is a mixer icon.

5. Tap a parameter to control. For example, tap ‘Noise Volume’.

6. In the pop up menu, tap ‘Learn’ button.

7. Then on the OP-1F CTRL Page, Turn a Knob. Use (Blue) to map it to
the ‘Noise Volume’ Parameter in the AUM host for Retro Piano App.

8. Repeat 5 to 7 to map the other 3 parameter knobs.

9. On the tablet app, close the MIDI Control page. Tap anywhere off this
page to close.

10. While still in the OP-1F CTRL Control Page, turning a knob or playing
keys will now control the Retro Piano via BLE. The OP-1F is now a
wireless MIDI controller.

The OP-1 Field Notebook : Reference & Guide 215

9 MIDI & Sync
NOTES

BLE Connection to AUM iPad App

AUM
As the host Audio / MIDI Mixer and hub. 1

MIDI Control
Options for App
5
Piano Volume CH 1
0 - 1 (0.9) CC 2 Audiokit Retro Piano
Plug-in Audio instrument
Noise Volume CH 1
0 - 1 (0.333333) CC 1

Audio Channel

Main Menu
SPKR
Settings Sub Menu

1: Retro Piano
WIRELESS MIDI
2
4 Bluetooth Central
find & connect with devices >
Bluetooth Peripheral
advertise this device >

Network MIDI >

Open AUM and configure a track with an audio

1 instrument to control.

With OP-1F in ‘Advertise’ mode, broadcasting via BLE,

2 connect from the iPad AUM with Bluetooth Central.

Load an audio instrument into the AUM track. In this

3 example Retro Piano is used as the destination.

Patch the OP-1F to the Retro Piano. There are several

4 locations where this can be set in the AUM App.

Set up and ‘learn’ the CC inputs from the knobs to

5 map to the Retro Piano App controls

216 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

9.5 Tempo and Metronome

The OP-1 has an adjustable tempo range of 40-220 Beats per Minute and
a resolution of 0.1 BPM. The tempo function controls Sequencers, LFO’s
and Tape. In some modes tempo and tape can also be synchronised.

[Tempo] SONG BPM LINK TAPE SPEED

Turn (Blue) to adjust BPM
:
PLAY BPM
38 CMS
FREE I6 IPS

SONG BPM TEMPO LINK TAPE SPEED METRONOME

Adjusts the master Linked state between Ratio of tape to tempo Turn to set the volume
song tempo beats per tempo and tape speed ie 2:1 sets tape speed level and / or pitch for
minute. to double of Song BPM. the metronome.

SONG BPM LINK TAPE SPEED

PLAY BPM 38 CMS

BEAT I6 IPS
MATCH

PLAY BPM TEMPO MODE TAPE SPEED METRONOME

Playback BPM. Select Free, Beat Visual indicators of the Shift + Turn to set the
Affected by tape Match, MIDI Sync or CMS, Centimetres per metronome tone style.
speed or external 1/16 Sync mode (Shift second and IPS, Inches
clock synchronisation. to toggle 1/16 or PO). per second.

Song BPM is the tempo set manually. The Play BPM is the actual playback
tempo and will be affected by the tape speed or any external clock. The
Tempo Mode sets how the behaviour between the tape and the tempo
operates and will be selected based on the application used.

Try setting some extra slow tape speeds to develop ambient and unusual
soundscapes. Experiment with tempo and speed setting for generating
interesting creative outcomes.

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9 MIDI & Sync
NOTES

▌GENERAL GUIDE TO ADJUSTING THE SONG TEMPO

1. Press [Tempo] to open the Tempo Page.

2. Turn (Blue) to adjust the Song BPM. This is the main internally
adjustable tempo measured in beats per minute and its behaviour may
differ depending on the mode selected. Range is 40 - 220. The Play
Tempo will only be controlled in synchronisation with the tape speed
and other external devices.

3. Hold [Shift] + Turn (Blue) to adjust in fine, 0.1BPM increments.

4. To adjust to a tap tempo when internally synchronised, Tap [Tempo]

button consecutively 3 times. The rate of tap will determine the tempo.

5. The tempo will be reflected in any tempo based function. This includes
the Tape, some LFO’s and Sequencers.

▌SETTING THE METRONOME

1. Press [Tempo] to open the Tempo Page. Metronome is audible when

the tape is playing, but not with the sequencer.

2. Turn (Orange) to adjust the volume level and / or pitch of the

metronome sound.

3. Tap (Orange) to toggle between metronome tones. A pitched tone

based on volume level or fixed pitch tone can be used.

▌GENERAL GUIDE TO ADJUSTING THE TAPE SPEED

1. Press [Tempo] to open the Tempo Page.

2. Turn (Grey) to adjust the Tape Speed ratio. Essentially this is based on
the tape speed with respect to Song BPM and the active Tempo Mode.

• Example: 1:1 refers to the default tape speed equal to tempo. The
Play BPM will refer to the actual speed, same as Song BPM.

• Example: A setting of 2:1 will double tape speed versus Song

Tempo. Play BPM will reflect the actual speed, double Song BPM.

• Example: A setting of 1:2 will half the tape speed. The Play BPM will
reflect to the playback speed, half the Song BPM.

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NOTES

9.6 Free Tempo Mode

The tempo mode can be selected within the tempo function page by
turning the (Ochre) knob. Free mode operates purely with an internal
tempo and does not send nor receive any other clock synchronization.
Free Mode operates based on the manually set Song BPM.

[Tempo] SONG BPM LINK TAPE SPEED

Turn (Ochre) to select Free Mode
:
PLAY BPM
38 CMS
FREE I6 IPS

▌APPLYING FREE TEMPO MODE

1. Press [Tempo] to open the Tempo Page.

2. Turn (Ochre) to select the Tempo Mode. Turn until ‘FREE’ is selected
as labelled in the bottom central label.

3. Song Tempo and Tape Speed are not linked and can be adjusted
independently.

4. Turn (Blue) to set the Song BPM. The Song BPM will also be reflected
directly in the Play BPM value. Fine adjustment or tap tempo can also
be applied.

5. Tape speed can be adjusted, Turn (Grey). While this is will be based on
a ratio between Song BPM and Tape Speed, it can be set
independently and will not be reflected in the Play BPM which will be
fixed at the Song BPM.

6. No tape markers are displayed in the Tape function page.

The OP-1 Field Notebook : Reference & Guide 219

9 MIDI & Sync
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9.7 Beat Match Mode

Beat Match mode acts as the primary clock source and sends the internal
master clock out to synchronise and control external devices. Manual
setting for the Song BPM and Tape Speed is possible so that they remain
in sync. This mode does not use an external clock input. The Beat Match
can be selected from the tempo page with the (Ochre) knob.

[Tempo]
Turn (Ochre) to select Beat Match

▌APPLYING BEAT MATCH MODE

1. Press [Tempo] to open the Tempo Page.

2. Turn (Ochre) to select the ‘BEAT MATCH’ Option.

3. Ensure an external device is connected and ready to receive the clock.

4. Song Tempo can be adjusted. Turn (Blue) to set the Song BPM. Fine
adjustment or tap tempo can also be applied.

5. Tape speed can be adjusted, Turn (Grey). This will be based on a ratio
between Song BPM and Tape Speed.

6. Tape Speed and Song BPM are linked and the master clock is sent out
to any connected external device. The clock out is displayed by an
ochre link symbol.
Master Clock is Sent Out LINK
Ochre Link Symbol

7. The Play BPM will be set automatically based on the combined

relationship between the Song BPM and Tape Speed setting. For
example, Song BPM at 50 and Tape Speed of 2:1 will have a Play BPM
at 100, which would control the sequencer tempo, tape and clock out.

8. Tape markers are displayed for full bars in the Tape function page.

220 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

9.8 MIDI Sync Mode

MIDI Sync mode accepts a clock input from an external device which acts
as the primary controller. The OP-1F listens for MIDI Time Code or MTC
Messages and synchronises to the external tempo when received. The
internal clock is used if no external sync is recognised. This mode can be
selected from the tempo page with the (Ochre) knob.

[Tempo] SONG BPM LINK TAPE SPEED

Turn (Ochre) to select MIDI Sync
:
EXT CLOCK

PLAY BPM
38 CMS
MIDI
SYNC I6 IPS

▌APPLYING MIDI SYNC MODE

1. Press [Tempo] to open the Tempo Page.

2. Turn (Ochre) to select the ‘MIDI SYNC’ Option.

3. Ensure an external device is connected and transmitting the clock as

an MTC message to the OP-1F, typically via the USB port. When the
MIDI Sync detects a clock the ‘EXT CLOCK’ message and MIDI symbol
is displayed.

4. Adjusting the Song BPM speed will affect the tape speed. Tape speed
is independent but sequencers and LFO’s will be directly in sync with
the external clock tempo.

5. The clock in mode is displayed by an orange link symbol for Song BPM
and Tape Speed link.
Master Clock is Received In LINK
Orange Link Symbol

6. The Play BPM will be set automatically based on the incoming tempo.

7. Tape markers are displayed for bars in the Tape function page.

The OP-1 Field Notebook : Reference & Guide 221

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NOTES

9.9 PO and 1/16 Sync Modes

PO mode is designed to operate with the Teenage Engineering Pocket
Operator series. The audio output from the OP-1F is split where the left
channel carries the click sync and right channel the audio. 1/16 Sync mode
is a variation of PO Sync which operates with Eurorack.

[Tempo]
Turn (Ochre) to select PO Sync Hold (Shift) + Turn (Ochre) for 1/16 Sync

SONG BPM LINK TAPE SPEED SONG BPM LINK TAPE SPEED

: :
PLAY BPM
38 CMS PLAY BPM
38 CMS
1/16
PO
SYNC I6 IPS SYNC I6 IPS

Example Configurations
Eurorack or PO Interface

OP-1 Field
Set to ‘PO Sync’ or ‘1/16 Sync’
TRS Audio Out

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

PO Sync Mode 1/16 Sync Mode

TRS Audio

PO Tonic Pam’s New Workout

TE Pocket Operator Eurorack Modular System

222 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

▌APPLYING PO SYNC MODE

1. Ensure an external PO device is connected and ready to receive the

clock. This can be any PO - Pocket Operator with a TRS audio cable
connected from the OP-1F Output and into the PO Input.

2. On the OP-1F, Press [Tempo] to open the Tempo Page.

3. Turn (Ochre) to select the ‘PO Sync’ Option. If ‘1/16 Sync’ is displayed,
Hold [Shift] + Turn (Ochre) to switch between the two options.

4. Set the PO to SY4 using Hold [Function] + Tap [BPM] to cycle options
on the PO. The ‘function’ to hold is dependant on the PO model but
usually is the button located directly under the right knob. Refer to PO
documentation for exact details.

5. Turn (Ochre) slowly to select between OP-1F as the Primary clock out,
same as Beat Match indicated by the Ochre Link. Alternatively receive
clock in, same as MIDI Sync and indicated by Orange Link.

Master Clock is Received In LINK

Orange Link Symbol

Master Clock is Sent Out LINK

Ochre Link Symbol

6. Refer to the Beat Match and MIDI Sync instructions for setting tempo.

7. Tape markers are displayed for full bars in the Tape function page.

PO Sync Modes
Sync Mode

PO device set to Sync Mode SY4. Press play on PO unit and then press play
on OP-1F. Both units will start in sync and the audio from OP-1F will be mixed
in with the audio of the PO unit. The combined audio is output from the PO.

Sync Modes
Mode Input Output
SY0 Stereo Stereo
SY1 Stereo Mono / Sync
SY2 Sync Stereo
SY3 Sync Mono / Sync
SY4 Mono / Sync Stereo
SY5 Mono / Sync Mono / Sync

The TRS 3.5mm Audio cable operates with Stereo Audio Right and Sync Left.

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9 MIDI & Sync
NOTES

▌APPLYING 1/16 SYNC MODE

1. Ensure an external device is connected and ready to receive the clock.

This can be a Eurorack module, typically a clock in. Connect with an
audio cable connected from the OP-1F Output and into the Module.

2. Set the receiving Eurorack module to the appropriate settings to

receive the signal. This will be module dependant.

3. On the OP-1F, Press [Tempo] to open the Tempo Page.

4. Turn (Ochre) to select the ‘1/16 Sync’ Option. If ‘PO Sync’ is displayed,
Hold [Shift] + Turn (Ochre) to switch between the two options.

5. Turn (Ochre) slowly to select between OP-1F as the Primary clock out,
same as Beat Match indicated by the Ochre Link. Alternatively receive
clock in, same as MIDI Sync and indicated by Orange Link.

Master Clock is Received In LINK

Orange Link Symbol

Master Clock is Sent Out LINK

Ochre Link Symbol

6. Refer to the Beat Match and MIDI Sync instructions for tempo setting.

7. Tape markers are displayed for full bars in the Tape function page.

8. In the example, Pam’s New Workout, A Eurorack Utility / Clock module,

is shown in the diagram. In this application, try setting the external
clock PPQN to 4 when using the OP-1. The matching of clock settings
may need adjustments and even trial and error parameter setting to get
the desired synchronisation.

224 The OP-1 Field Notebook : Reference & Guide

 MIDI & Sync 9
NOTES

9.10 Summary of Sync Modes

For completeness the tempo link modes are shown collectively as a
summary of the interface options available.

Does not send or receive clock

FREE

2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

LINK
Grey

Primary Lead - Sends Clock Out BEAT

MATCH
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift

LINK
field

Ochre

Follower - Receives Clock In MIDI

SYNC
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift

LINK
field

Orange

Lead or Follow - Clock In or Out PO

SYNC
SY4
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
Ochre
LINK
field

LINK
Orange

Lead or Follow - Clock In or Out 1/16

SYNC
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
Ochre
LINK
field

LINK
Orange

The OP-1 Field Notebook : Reference & Guide 225

 NOTES

226 The OP-1 Field Notebook : Reference & Guide

 10
System
This final OP-1F chapter gathers up all of the OP-1F. While this is the final chapter of the OP-
other tips, guides and information. There are 1F notebook its not the end of the journey, in fact
are number of topics that do not fall clearly into this is just the start. Hopefully this book will not
one operating function and that don’t quite fit only help to get things started but also be a
fully into the other chapters. These elements companion on the journey ahead. By adding
will be captured in this section. In addition the notes, comments, capturing your own hints and
generic system functions and parameter tips will make the guide more personal and more
settings are also covered in this section. complete. Its why we named it a notebook but
Consider this chapter simply as the place to recognise that is also a guidebook and a
capture anything that is not covered elsewhere reference. Your workflow will be shaped by the
in this notebook. The chapter also provides choices and preferences to take and this
some diagnostic routines and tests to health notebook will help guide the way. So now its time
check the OP-1F keyboard. Remember that to get the most out of the OP-1F, maximise its
the official teenage engineering warranty may full feature set and apply it to make more music
be invalid if you open up the OP-1F so take and to get the best out of each and every
guidance from the TE documentation and function. Of course its also good to have fun on
technical support before undertaking tasks the way. Enjoy!
outside of the normal operation. So coverage
of the OP-1F device is wrapped up here now
that all of its glory and fun has been captured
and explained its now left to you to couple your
music making skills with the features of the

The OP-1 Field Notebook : Reference & Guide 227

10 System
NOTES

10.1 System Settings

Some system settings provide a generic and default state for several
functions. The display brightness, power off behaviour and FM radio
location country are the three settings that can be changed.

[Shift] + [Tempo]
Turn (Blue) to select ‘SYSTEM’

KEYBOARD BRIGHTNESS 00
SYSTEM COUNTRY WORLD
CLOCK POWER OFF INSTANT
BATTERY

▌ADJUSTING THE DISPLAY BRIGHTNESS

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight the ‘SYSTEM’ option.

3. Turn (Ochre) to navigate the sub menu, highlight the ‘BRIGHTNESS’

option. The selected option will display with white text.

4. Turn (Orange) to adjust the display brightness. The range is from 10 up

to 125.

5. The setting is stored and will be remembered after power down.

▌ADJUSTING THE LOCATION COUNTRY

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight the ‘SYSTEM’ option.

3. Turn (Ochre) to navigate the sub menu, highlight the ‘COUNTRY’

option. The selected option will display with white text. This sets the
region which is relevant for the FM radio tuning.

4. Turn (Orange) to select World, Japan or US. World is a good start.

5. The setting is stored and will be remembered after power down.

228 The OP-1 Field Notebook : Reference & Guide

 System 10
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▌CHANGING THE POWER OFF BEHAVIOUR

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight the ‘SYSTEM’ option.

3. Turn (Ochre) to navigate the sub menu, highlight the ‘POWER OFF’
option. The selected option will display with white text.

4. Turn (Orange) to switch settings between Instant and Delayed.

• Instant setting will immediately power the OP-1F off when the
switch is pushed down.

• Delayed setting will trigger a count timer when the switch for off is
pushed down. This gives a 6 second buffer to allow the power
switch to be returned to on if desired. This will protect the OP-1F
settings from accidental power off loss. Pressing [Com] during the 6
second timer count will immediately power off.

5. The setting is stored and will be remembered after power down.

POWER OFF?
FLIP POWER SWITCH TO ABORT

0 1 2 3 4 5 6

COM FOR INSTANT OFF

The OP-1 Field Notebook : Reference & Guide 229

10 System
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10.2 System Clock

The system clock handles the time and date settings. These may need to
be adjusted to the local time / date but the clock will constantly run even
with power off. Time and date should be set / checked at the first power up.

[Shift] + [Tempo]
Turn (Blue) to select ‘CLOCK’

KEYBOARD
SYSTEM
CLOCK
BATTERY 2023 - 06 - 22
08:32

▌ADJUSTING THE DATE

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight the ‘CLOCK’ option.

3. Turn (Ochre) to set the date. Increments are in days.

▌ADJUSTING THE TIME

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight the ‘CLOCK’ option.

3. Turn (Grey) to adjust the time. Increments are in minutes.

230 The OP-1 Field Notebook : Reference & Guide

 System 10
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10.3 Battery State

The battery state can be checked. This does not offer any adjustments and
is purely a visual check of the current status. The display will show the % of
battery life remaining and the limit for the input current.

[Shift] + [Tempo]
Turn (Blue) to select ‘BATTERY’

KEYBOARD CHARGE 66%

SYSTEM INPUT LIMIT I00 MA
CLOCK
BATTERY

▌VIEWING THE BATTERY STATE

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight the ‘BATTERY’ option.

3. There are two parameters on view. These are visual only and cannot
be changed:-

• Charge. Percentage of the battery life currently remaining. This is

also shown on the audio meter LED by pressing [Help].

• Input Limit. This is shown when charging in mA, Milliamps.This will

be higher, i.e. 1200 MA when charging.

▌QUICK CHECKING THE BATTERY CHARGE

1. Hold [Help].

2. The right side Audio / Charge meter will display a level which reflects
the current state. All LED’s on shows fully charged.

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10 System
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10.4 Keyboard Defaults

The keyboard settings are applied to the OP-1F internal keyboard and
control the velocity sensitivity and the global detuning. All settings will be
saved on power down.

[Shift] + [Tempo]
Turn (Blue) to select ‘KEYBOARD’

KEYBOARD VELOCITY OFF

SYSTEM DE TUNE NOTES 0
CLOCK DE TUNE CENTS 0
BATTERY

▌ADJUSTING THE KEYBOARD VELOCITY SENSITIVITY

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight ‘KEYBOARD’ option.

3. Turn (Ochre) to navigate the sub menu, highlight the ‘VELOCITY’

option. The selected option will display with white text.

4. Turn (Orange) to adjust the Velocity setting.

• Off. A fixed full velocity will be applied on each key press. This is
fixed at 127 in value.

• Hard. A variable hard velocity value range is applied based on the

strength of the key pressed.

• Soft. A variable soft velocity value range is applied based on the

strength of the key pressed.

As a tip, the velocity LFO can be loaded into a synth or drum engine LFO slot [T4]. The
Velocity LFO has a real time indicator of the incoming velocity when pressing a key.
This can be used as a tool to observe the note velocity values.

232 The OP-1 Field Notebook : Reference & Guide

 System 10
NOTES

▌DETUNING THE KEYBOARD NOTES

1. Press [Shift] + [Tempo] to open the generic settings.

2. Turn (Blue) to navigate the main menu, highlight ‘KEYBOARD’ option.

3. Turn (Ochre) to navigate the sub menu, highlight the ‘DETUNE NOTES’
option. The selected option will display with white text.

4. Turn (Orange) to adjust the note tuning. This will adjust the note tuning
in semitones. A range of -11 to 0 to +11 is available which covers down
and up the octave range.

5. Turn (Ochre) to navigate the sub menu, highlight the ‘DETUNE CENTS’
option. The selected option will display with white text.

6. Turn (Orange) to adjust the note tuning. This will adjust the note fine
tuning in cents. A range of -99 to 0 to +99 is available which covers
down and up a semitone range.

De Tune Notes
Increases tuning down or up an octave,
in semitone iterations for all of the notes.

-11 +11
-1 +1
F#
E F
#

G
D D

G# A
C#

A#
C B

De Tune Cents
Increases tuning down or up a semitone,
in cent iterations for all the notes.

-99 +99

Changing of the OP-1 tuning may be useful when using an externally connected
device to ensure the pitch calibration of notes is matched.

The OP-1 Field Notebook : Reference & Guide 233

10 System
NOTES

10.5 File Structure

A general guide the OP-1F on board file structure is illustrated below.

[tapes]
Tape1-003
Tape2023-23#01 Tape recordings stored as named in
the tape browser. Folders contain 4
Tape2023-61#01 track files in format 44.1KHz, Wav

Tape2023-143#01
[mixdown]
side_a Mixdown album recordings. This
contain the two, one per side, A & B,
side_b files stored in 44.1KHz WAV format.

[Synth]

[snapshot]
Synth snapshots created by the
20180911_2230 user, stored and named by date
and time saved.
[slots]
1
2 Synth AIF Sounds stored in the 8
3 sound keys. User folders can be
4
5 created and added using a PC or Mac
6 but not within the OP-1F device itself.
7
8
[user]

[Drum]

[snapshot]
2023-123#01 Drum snapshots created by the
user, stored and named by date
2023-133#02 and time saved. Mono / Stereo
2023-141#01 AIFF files, 44.1KHz.

[slots]
1 Drum AIF Sounds stored in the 8
2
3 sound keys. User folders can be
4 created and added using a PC or Mac
5
6 but not within the OP-1F device itself.
7

8
[user]

234 The OP-1 Field Notebook : Reference & Guide

 System 10
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10.6 File Management

Access to the full file structure, use the MTP utility. A limited access option
to only the user and snapshot patch data can be performed from within
‘Disk Mode’. MTP or Media Transfer Protocol operates natively on some
PC and Android devices but not on Apple devices. Teenage Engineering
have a utility called’ FieldKit’ that gives full access for Apple Macs to the
OP-1F folder structure. This can be downloaded from TE website.

Disk Mode

EJECT

▌ACCESSING THE OP-1F IN DISK MODE

1. Connect a PC or Mac to the OP-1F with a USB cable.

2. Hold [Shift] + [Com] to open the communications utilities.

3. Hold [Shift] + [T4]. This switches between MTP and Disk mode. This
will select disk mode. The connection will synchronise.

4. The OP-1F folder structures are now accessible using the file manager
on the PC / Mac. This will only give access to the Synth and Drum
folders and the Snapshot and User sub-folders. This is useful for
backing up patches and presets.

5. When complete, Press [T4] to eject the disk from the PC/Mac.

DISK Mode

USB
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

drum synth

The OP-1 Field Notebook : Reference & Guide 235

10 System
NOTES

Media Transfer Protocol Mode

ADVERTISE

MIDI CTRL LIST MTP

▌ACCESSING THE OP-1F WITH MTP (APPLE MAC)

1. Connect a Mac to the OP-1F with a USB cable. A PC should have

native file access for MTP but a Mac will require the FieldKit
downloading and installing from TE.

2. Hold [Shift] + [Com] to open the communications utilities.

3. The MTP [T4] option should already be displayed and available. The
PC/ Mac must be connected.

4. To initiate an MTP session, press [T4]. In some cases the session can
be initiated by the Mac FieldKit or PC Utility.

5. The OP-1F folder structures are now accessible using the file manager
on the PC / Mac. This will give access to all of the the Mixdown, Tapes,
Synth and Drum folders. This is useful for transferring user content to
the OP-1F or extracting the audio files for further production.

6. When complete, Press [T4] to eject the disk from the PC/Mac.

MTP Mode

USB
2 3 4 5 6 7 8
I 2 3 4 IN OUT

Shift
field

mixdown tapes mixdown tapes

drum synth
Copy to Backup drum synth
Folders

236 The OP-1 Field Notebook : Reference & Guide

 System 10
NOTES

Transferring User Content to the OP-1F

Audio can be created elsewhere and these samples then transferred to the
OP-1F for use in the synth and drum engines. Folders should be created in
the drum or synth folder and have the formats described in the drum and
synth section. Typically this folder accepts mono/stereo, .aif .aiff .aifc .wav
files, 44100 Hz. Other sample rates change the maximum sample time.

▌MOVING USER CONTENT TO THE OP-1F

1. Connect a Mac to the OP-1F with a USB cable.

2. Hold [Shift] + [Com] to open the communications utilities.

3. Hold [Shift] + [T4]. T4 Switches between MTP and Disk when pressing
the shift button. This will select Disk Mode.

4. Open the file manager on the PC/Mac and open the ‘OP-1’ disk.
This gives access to the OP-1F folders.

5. Navigate within the OP-1F files structure.

6. Create user folders within the Synth or Drum folders. These will appear
in the Synth and Drum Preset browser. The folder will appear in the
preset folders and the file in the snapshot / patch section.

7. Transfer any user files into the created location. Remember that the
drum sample length is 20 seconds max and the synth samples 6
seconds. The files must be in the correctly defined format.

8. Once complete, Press [T4] to eject the disk.

DBOX TESTPATCH1
7 DRUM
SNAPSHOT
BEATIT
SD PATCH2
SYNTHDAWG TOY DIVISION
EXPRESS

The OP-1 Field Notebook : Reference & Guide 237

10 System
NOTES

10.7 Factory Reset

A factory reset can be performed when in TE Boot mode.This will reset all
original functions and erase all user content. It is recommended to backup
any user data prior to performing a factory reset.

TE BOOT Mode
Hold [Com] while powering up.

TE BOOT 1000.0.37 build date Jan 11 2023, 20:13:11

1. upload firmware

7. factory reset
8. system menu

▌PERFORMING A FACTORY RESET

1. Backing up all user data prior to performing a reset is a good practice.

2. Power the OP-1F Off and disconnect all cables.

3. Hold [Com] + Power On the OP-1F.

4. The TE BOOT mode will be open.

5. Press [7] to select ‘factory reset’

6. An ‘Are you sure?’ prompt will be displayed. To confirm and proceed

with the factory reset, press (Orange) knob.

7. A message saying data has been removed OK and a request to restart

is displayed. Do not power off the OP-1F until this message appears.
The reset is not fully complete at this point.

8. Power Off the OP-1F then restart by Powering On.

9. The factory reset will continue and then the OP-1F will start up as
normal. All user data removed and the original settings restored.

238 The OP-1 Field Notebook : Reference & Guide

 System 10
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10.8 Diagnostic Function Test

An onboard keyboard diagnostic test is available. It is advised that these
should only be used when TE technical support requests to do so. It is
strongly advised against selecting any other diagnostic function.

TE BOOT Mode
Hold [Com] while powering up.

TE BOOT 1000.0.37 build date Jan 11 2023, 20:13:11

1. upload firmware
System menu
7. factory reset
8. system menu 1. function test
2. reset volume pot calibration

8. back

▌PERFORMING A FUNCTION TEST

1. Power the OP-1F Off and disconnect all cables.

2. Hold [Com] + Power On the OP-1F.

3. The TE BOOT mode will be open.

4. Press [8] to select ‘system menu’.

5. Press [1] for ‘function test’. Do not select any other options.

6. Test the Keyboard. Press each key and knob individually. A red
template is displayed. Knobs and buttons will turn green on the
template once each test has been passed.

7. Press [Shift] + [T4] to skip the test.

8. Press [8] to back up to the main menu. When in the main menu, power
the OP-1F off and on to restart as normal.

The OP-1 Field Notebook : Reference & Guide 239

10 System
NOTES

10.9 Firmware Update

Occasionally TE will release firmware updates that fix bugs or add new
features and improvements. This will require downloading of the firmware
and updating the OP-1F. The actual instructions applied should follow
those supplied by TE for each update. As an instruction the following
example update is provided as a general guide.

TE BOOT Mode
Hold [Com] while powering up.

TE BOOT 1000.0.37 build date Jan 11 2023, 20:13:11

1. upload firmware

7. factory reset
8. system menu

▌PERFORMING A FIRMWARE UPDATE

1. Backing up all user data prior to performing an update is good practice.

2. Download from the Teenage Engineering site, the firmware version to

install. This should be placed in a safe location on the PC or Mac.

3. Power the OP-1F Off.

4. Connect the PC/Mac which holds the downloaded firmware to the OP-
1F with the USB cable.

5. Hold [Com] + Power On the OP-1F.

6. The TE BOOT mode will be open.

7. Press [1] to select ‘upload firmware’.

8. The OP-1F will switch to disk mode. With the PC / Mac connected, the
disk will be available in the file browser / finder, shown as ‘OP-1’.

9. Drag the downloaded firmware from the Mac / PC to the ‘OP-1’ disk.

10. Eject the disk from the PC/Mac. Also can be performed before the file is
moved to the ‘OP-1’ disk to exit without updating.

11. The firmware will install and update the OP-1F.

240 The OP-1 Field Notebook : Reference & Guide

 System 10
NOTES

10.10 Technical Specifications

A summary of TE defined specifications is provided for reference.

• Audio Input: 3.5mm Stereo Jack. 13 kOhm Impedance, 0-31 dB Analog

Gain, Max Level 8 dBU at 2 Vrms, Signal to Noise Ratio typically 98
dBA

• Audio Output: 3.5mm Stereo Jack. Max Level 8 dBU at 2 Vrms, Signal
to Noise Ratio typically 124 dBA. M-1 Headset (mic and earphone)
compatible.

• Temperature: Working Temp, 10 - 35 DegC. (50 - 95 DegF). Ambient

Storage Temp, 0 - 30 DegC. (32 - 86 DegF).

• Battery. Rechargeable, 24 Hr life. Recharge at least every 6 months to

ensure battery is in good order.

• USB: USB Type C, Audio Class 1.0 Host & Device.

• FM Radio: Transmitter 87.5 to 108mhz / 49.56dbm. Receiver 87.5 to

108mhz.

• BLE: Bluetooth Low Energy compatible, 2402 to 2480mhz < 10dbm.

The OP-1 Field Notebook : Reference & Guide 241

 NOTES

242 The OP-1 Field Notebook : Reference & Guide

 END

The OP-1 Field Notebook : Reference & Guide 243

 Index
1/16 Sync Mode 222, 225 Cluster Synth 74

A COM Mode 47, 206–208, 235, 237

Ableton Live 201 Control Mode 211

Advertise 213 CWO Effect 106

Arm Recording D

13, 15 Dbox 34, 48

Arpeggio 147 Delay 107–108

Audio In 3, 184 Device List 208

Audio Input 117, 203 Diagnostic 239

Audio Out 3 Digital Synth 76

Audio Output 196, 203 Dimension Synth 78

B Disk Mode 235

Battery 3, 6, 231 DNA Synth 80

Beat Marker 13, 16 Dr Wave Synth 82

Beat Match 220, 225 Drive 178–179

Bend 101 Drop 4, 24, 31, 193, 195

BLE 206, 213 Drum 4, 34, 36, 49, 117, 153, 188

Brake 5, 28 Drum Sampler 40, 42, 188, 192

Brightness 228 DSynth 72

C E

CC 139–140, 207, 211–212 Effect 34, 60, 104, 117, 177

Choke 42, 44 Element LFO 123

Chop 28 Endless 150

Clock 206, 230 Envelope 34, 53, 60, 98, 117, 133

244 The OP-1 Field Notebook : Reference & Guide

 Index
EQ 175–176, 180 I

F In 5, 17, 28, 70

Factory Reset 238 J

Fade 68, 70 Join 26

Fast Forward 13 Jump 13, 16

File Management 235 K

File Structure 234 Keyboard 4, 61, 232, 239

Filter 110, 112 L

Finger 153 Legato 100

Firmware Update 240 LFO 34, 60, 105, 115, 117–118

FM Radio 185–186, 197, 228 Lift 4, 24, 31, 193, 195

FM Synth 84 Loop 5, 17, 28, 44, 68, 70

FM Transmit 196, 198 M

Free Tempo Mode 219, 225 M1 5, 28, 30, 180

FX 104, 177 M2 5, 28, 180

G Main Output 172

G-Force 117 Master 177–178

Gain 68 Media Transfer Protocol 236

Gate 42, 44 Memo Keys 30, 180

H Merge Drop 24–25

Headset 185, 202 Metronome 217

Help 8 Microphone 3, 95, 117, 124, 184–

185, 202
Hold Sequencer 157
MIDI 116, 142, 206, 210, 213

The OP-1 Field Notebook : Reference & Guide 245

 Index
MIDI Channel 206 PO mode 222

MIDI LFO 139, 207 PO Sync 225

MIDI Sync Mode 221, 225 Poly 100

Mixdown 196, 199 Portamento 100

Mixer 105, 172–173, 178, 180 Power 229

Modulation 115, 117, 133 Presets 36–37, 52, 62, 64, 193

Mono 100 Pulse Synth 88

Mother Effect 109 Punch Effect 112, 114

Mute 174 R

N Random LFO 127

Note Off 67, 70 Record 13, 15, 193, 195

Note On 67, 70 Recording Level 187

O Reverb 109, 113

One-shot 42, 44 Reverse 13, 28

Out 5, 17, 28, 70 Rewind 13, 16

Out to In 184, 191 Routing 172

P S

Panning 46, 174 Sample 41, 43, 47, 66–67, 71, 188

Pattern 160 Sample Direction 42, 68

Phase Synth 86 Sequencer 146–147, 150, 153, 160,

164, 167
Phone Effect 111
Sketch 164
Pitch Bend 101
Snapshot 39, 192, 194, 234
Play 13–14
Split 4, 26
Play Modes 99

246 The OP-1 Field Notebook : Reference & Guide

 Index
Stop 13 Velocity LFO 135

String Synth 90 Vocoder Synth 94, 96

Synth 4, 60, 117, 153, 188 Voltage Synth 92

Synth Sampler 66, 188, 194 W

T Wireless Connectivity 213

Tape 4, 12, 188–189

Tape Editing 24, 31

Tape Mode 14

Tape Reels 21, 31

Tape Speed 13, 217

Tape Tricks 28
•
Tape Type 19

Templates 56

Tempo 217

Terminal Effect 114

Tombola 167

Track 173–174

Track Mixer 173

Tremolo 116, 138

Unison 100

USB 6, 117, 184, 200

Value LFO 119

The OP-1 Field Notebook : Reference & Guide 247

248 The OP-1 Field Notebook : Reference & Guide
 Copyright © 2023 by SynthDawg

All rights reserved. This book or any portion thereof may not be
reproduced or used in any manner whatsoever without the
express written permission of the publisher except for the use
of brief quotations in a book review. This book is an
independent production and any official endorsement or
sponsorship by any manufacturer mentioned has not been
granted nor been sought.

Produced in the United Kingdom

Version 1.1e - December 2023 - OP-1 Field OS 1.5.0

www.synthdawg.com

The OP-1 Field Notebook : Reference & Guide 249

 SYNTHDAWG
PRODUCER GUIDES

www.synthdawg.com

250 The OP-1F Notebook : Reference & Guide