The MIDI Clipboard Modifier is the Audio Clipboard Modifier’s sibling for the MIDI clipboard: copy notes, mangle them, audition the result, then paste it — the tape stays untouched until you paste. It works the same way as the audio one (pages, groups, APPLY, WRITE BACK, the tuning settings on the layer), in musical time: every position is a bar and beat, never a millisecond.
The clipboard is drawn as a piano roll: one row per key (black keys shaded, every C labelled), bars and the GRID across, the playhead fixed at the centre. The rows always scale to fit every note of the original and of the result (at least one octave), so nothing is ever off screen and there is no vertical scrolling. Notes are bars whose brightness is their velocity. CC, pitch bend and aftertouch that travelled with the copy are shown as ticks in a thin strip along the bottom — they are carried along, and pasted back with the notes.
While the focused group has un-applied settings the result is drawn in orange over the original, which is dimmed: what you see is exactly what APPLY will print and what the audition plays. A group that changes the clip’s length (STRETCH, CROP) moves the clip-end line to the result’s end.
GRID — step size for Start/End/Scroll, 1/1 … 1/64. Push to toggle triplets (1/8T)
2
START of the edit region — push to set Start to the playhead
3
END of the edit region — push to set End to the playhead
4–6
Parameters of the selected group (see below)
7
Zoom (0.125x → 64x)
8
Scroll / move the playhead
All edits apply to the notes that start between START and END — by default the whole clipboard. Hold while turning a parameter encoder for fine steps. Several groups treat notes that start together (within a 32nd note, so a played chord counts) as one onset: STRUM, ARP, MELODIZE, CHANCE, EUCLID, LENGTH’s legato.
The same SCALE / SPAN / ROOT settings as on the audio modifier, read by every control that works in scale degrees: TRANSPOSE’s DEGREE and SNAP, MELODIZE, CHORD, ECHO’s pitched repeats. They persist like GRID, have no APPLY, and turning them never discards a group’s un-applied changes.
+ Track Button 1–7 selects a page, Track Buttons 1–7 select a group on the current page, and Track Button 8 stays APPLY. The current page is shown at the top left of the roll as [EDIT], [GEN], [MOD] or [RHYTHM]. Switching page or group (or re-pressing the current group) discards any un-applied settings of the current group. ^ in an encoder’s corner marks a push.
+ Button
Page
Contents
1
EDIT
the everyday tools: VELOCITY, TIME, REVERSE, CROP, TRANSPOSE, FILTER, LENGTH
2
GEN
generative tools: MELODIZE, CHORD, STRUM, ARP
3
MOD
LFOs printed over the region: VEL LFO, CC LFO, PB LFO, AT LFO
4
RHYTHM
ECHO, RATCHET, CHANCE, HUMANIZE, EUCLID
The pages follow the audio modifier’s layout by meaning (EDIT ↔ EDIT, GEN ↔ GRAIN, MOD ↔ MOD, RHYTHM ↔ FX), so the same page button means the same kind of thing on both screens.
APPLY — commit the group’s settings to the clipboard
8 +
WRITE BACK
Notes:
VELOCITY: SCALE multiplies every velocity; RAMP is the FADE of velocities — negative values swell in (quiet at START, full at END), positive values fade out; JITTER adds a random amount per note (up to ±40 at 100 %). The random pattern is fixed by a seed, so what you audition is what APPLY prints; push Encoder 6 for a new roll
TIME: QUANTIZE moves note starts towards the GRID with the same strength control as MIDI Edit (past 100 % forward only, below 0 % backward only, note lengths kept); SWING delays every second GRID step by up to half a step; STRETCH doubles or halves the region in time — the clip grows or shrinks, what follows END moves along, and the pasted result overwrites more or less than was copied. Order: quantize, then swing, then stretch
REVERSE mirrors the region (a note that crossed END is clamped to it first); SHUFFLE cuts the region into equal slices and re-orders them by seed (push Encoder 5 for a new order) — notes travel with the slice they start in; STUTTER repeats the first region ÷ count slice count times. Order: reverse, then shuffle, then stutter
CROP needs no parameters: set START/END (or SLIDE the region), then APPLY to keep only the region — the clip becomes the region, starting at bar 1
TRANSPOSE: SEMI is chromatic. DEGREE moves every note by whole steps of SCALE above ROOT (a note that is not on the scale is snapped to the nearest degree first) — with a scale set, +2 turns a line into its diatonic third. SNAP forces every note onto the scale: NEAR to the closest degree, UP / DOWN to the next one in that direction. Order: snap, then degrees, then semitones
FILTER removes notes outside LOW…HIGH ( steps octaves) or quieter than MIN VEL; DROP CC also removes the region’s CC, pitch bend and aftertouch
LENGTH: FIXED gives every note the same length, GATE scales lengths (staccato below 100 %, overlapping above), LEGATO extends each note to the next onset (the last note keeps its length). Order: fixed, then gate, then legato
MELODIZE turns a rhythm into a melody: it keeps every note’s position, length and velocity and rewrites only the pitch, drawn from SCALE across SPAN octaves above ROOT. Record a one-note rhythm, copy it, pick a scale, and turn MODE. It engages on the first encoder turn (there is no neutral setting); re-pressing the group button disarms it. Encoders 5 and 6 follow the mode — the value row shows their current names
WALK — a drunkard’s walk: every note moves by up to STEP scale degrees from the previous one, starting where the first note was; GRAVITY pulls the line back towards the middle of the range (0 = a free walk that may sit at the edges, 100 = always heading home). One note in four repeats its pitch. Moves stepwise, so it sounds like a melody rather than random notes
TURING — a locked random loop of LENGTH pitches: the notes cycle through it, and after every pass each pitch has a MUTATE % chance to change. 0 % is a fixed loop, 100 % is new every pass — one knob from locked to random
SHAPE — a contour from the lowest to the highest pitch of the range, spread over the notes from the first to the last: RAMP UP, RAMP DN, ARCH, VALLEY, TRI, SINE. JITTER scatters the notes around it (up to ±3 degrees at 100 %); at 0 the result is fully predictable. The contour is traced over the roll while un-applied
Chords are kept: notes starting together are one onset; the lowest note takes the generated pitch and the other notes keep their intervals above it
Push Encoder 4 for a new roll; every track of a multi-track clipboard rolls differently
CHORD harmonizes: every note gets VOICES extra notes above it, each STACK apart in the scale — 3RD stacks thirds (VOICES 2 = triads, 3 = sevenths), OCT doubles in octaves — at VEL % of the source velocity. Notes off the scale are snapped to it first. With CHROMA, every degree is a semitone, so pick a scale for musical stacking
STRUM spreads the notes of every chord over TIME from the chord’s first note, in ORDER: UP from the lowest note, DOWN from the highest, ALT alternating chord by chord, RANDOM by seed (push Encoder 5 to re-roll). Push Encoder 4 for a triplet TIME (1/16T). The notes keep their ends, so the strummed ones get shorter. CURVE shapes the timing: negative = tight start, loose end; positive = the reverse
ARP replaces every chord with a run of its notes at RATE, over the chord’s duration, in ORDER across OCTAVES (UPDOWN goes up and back down without repeating the ends; RANDOM picks by seed, push Encoder 4 to re-roll). Single notes are left alone. Engages on the first turn
One LFO per group, printed over the region. All four share the same layout as the audio MOD page; the wave is traced over the roll while un-applied.
Button
Group
Encoder 4
Encoder 5
Encoder 6
1
VEL LFO
RATE (note value 1/1–1/64)
DEPTH (0–100 %)
SHAPE (SINE, TRI, SAW DN, SAW UP, SQUARE, S&H), push to advance the phase by 90°
2
CC LFO
CC (#0–#127), push to cycle the shape
RATE
DEPTH (0–100 %)
3
PB LFO
RATE
DEPTH (0–100 % = the full bend range)
SHAPE, push = +90°
4
AT LFO
RATE
DEPTH
SHAPE, push = +90°
Notes:
VEL LFO scales each note’s velocity by the wave at the note’s start, dipping from the top like VOL LFO: a SQUARE at 1/8 is a velocity gate, S&H a random accent pattern
CC LFO, PB LFO and AT LFO write events every quarter of a GRID step (at least a 64th) across the region, around the centre (CC 64, no bend, aftertouch 64), replacing what the region held of that kind (for CC LFO, of that controller only). DEPTH 0 is neutral. While one of these groups is focused, the values it writes (the selected controller for CC LFO, the bend around its centre, the aftertouch) are drawn as a lane along the bottom of the roll, so you see the curve as well as hear it
Shapes start unmodulated at START as on the audio page; pushing SHAPE advances the start by a quarter cycle
DECAY (0–100 %), push cycles the pitch per repeat FLAT · +1 OCT · -1 OCT · +5TH
2
RATCHET
DIVIDE (2–8)
CHANCE (0–100 %), push to re-roll
GATE (10–100 %)
3
CHANCE
DROP (0–100 %), push to re-roll
EVERY (OFF · 2ND · 3RD · 4TH)
DOWNBEAT (KEEP / FREE)
4
HUMANIZE
TIME (0–100 %), push to re-roll
VEL (0–100 %)
LENGTH (0–100 %)
5
EUCLID
STEPS (1–32 grid steps)
HITS (1–STEPS)
ROTATE (0–STEPS−1)
Notes:
ECHO is a MIDI delay: every note in the region repeats REPEATS times, TIME apart, each repeat at DECAY % of the previous velocity and shifted by the pitch mode (snapped to SCALE when one is set). Repeats run past END and are cut at the clip end; each repeat is marked above the roll while un-applied. Neutral at DECAY 0
RATCHET splits CHANCE % of the notes (by seed) into DIVIDE equal pieces of GATE % length — rolls and ratchets
CHANCE drops onsets: DROP is a seeded probability per onset, EVERY drops every 2nd / 3rd / 4th onset deterministically, DOWNBEATKEEP exempts onsets on a bar line from both
HUMANIZE adds seeded jitter: TIME up to ± half a GRID step, VEL up to ±40, LENGTH up to ± half the note’s length. Push Encoder 4 for a new roll
EUCLID moves the region’s onsets, in order, onto a Euclidean pattern of HITS in STEPS grid steps (rotated by ROTATE); with more onsets than hits the pattern repeats. Note lengths are kept. Engages on the first turn
+ Track Button 8 pastes the clipboard back over the position it was cut/copied from — every copied track onto its own track, replacing exactly the clipboard’s span — and returns you to the screen you came from:
If the clipboard changed length (STRETCH, CROP), the write back overwrites more or less than the original region
Only available when the current group has no un-applied changes — APPLY first
The write back is a normal MIDI paste on the tape, so it can be undone with UNDO and jumps the playhead with PASTE JMP
plays the clipboard, including all pending, un-applied settings — tweak while it plays, the audition follows without restarting
Each track plays on its own output channel, exactly as the tape would, so the audition is as audible as the instrument connected to that channel. The tape itself (audio and MIDI) stays silent while the modifier is open
The clip plays at the tempo under the tape’s playhead — the tempo it will be pasted into
jumps the playhead to START without toggling playback; pressed again on START it jumps to the start of the clip
/ move the playhead by the GRID step
toggles looped playback; / set the loop points to the playhead, both together snap the loop to the START/END region
