Name: Expert Sleepers disting EX MIDI implementation
Creator: MIDI CC & NRPN database
License: https://github.com/pencilresearch/midi/blob/main/LICENSE

Matrix Mixer

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies an attenuverter to input 1 Note: Neg. value -> CV inverted	0-based
Attenuverter 2	2	[0–127]	—	Applies an attenuverter to input 2 Note: Neg. value -> CV inverted	0-based
Attenuverter 3	3	[0–127]	—	Applies an attenuverter to input 3 Note: Neg. value -> CV inverted	0-based
Attenuverter 4	4	[0–127]	—	Applies an attenuverter to input 4 Note: Neg. value -> CV inverted	0-based
Attenuverter 5	5	[0–127]	—	Applies an attenuverter to input 5 Note: Neg. value -> CV inverted	0-based
Attenuverter 6	6	[0–127]	—	Applies an attenuverter to input 6 Note: Neg. value -> CV inverted	0-based
Out 1 offset	7	[0–127]	—	Offset for Output 1 Note: Unit depends on 'Out offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
Out 2 offset	8	[0–127]	—	Offset for Output 2 Note: Unit depends on 'Out offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
Out 3 offset	9	[0–127]	—	Offset for Output 3 Note: Unit depends on 'Out offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
Out 4 offset	10	[0–127]	—	Offset for Output 4 Note: Unit depends on 'Out offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
Out 1 offset type	11	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for Out 1offset	0-based
Out 2 offset type	12	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for Out 2 offset	0-based
Out 3 offset type	13	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for Out 3 offset	0-based
Out 4 offset type	14	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for Out 4 offset	0-based
Mix 1->1	15	[0–127]	—	Amount of input 1 that will be summed into output 1 Note: Neg. value -> CV inverted	Centered
Mix 2->1	16	[0–127]	—	Amount of input 2 that will be summed into output 1 Note: Neg. value -> CV inverted	Centered
Mix 3->1	17	[0–127]	—	Amount of input 3 that will be summed into output 1 Note: Neg. value -> CV inverted	Centered
Mix 4->1	18	[0–127]	—	Amount of input 4 that will be summed into output 1 Note: Neg. value -> CV inverted	Centered
Mix 5->1	19	[0–127]	—	Amount of input 5 that will be summed into output 1 Note: Neg. value -> CV inverted	Centered
Mix 6->1	20	[0–127]	—	Amount of input 6 that will be summed into output 1 Note: Neg. value -> CV inverted	Centered
Mix 1->2	21	[0–127]	—	Amount of input 1 that will be summed into output 2 Note: Neg. value -> CV inverted	Centered
Mix 2->2	22	[0–127]	—	Amount of input 2 that will be summed into output 2 Note: Neg. value -> CV inverted	Centered
Mix 3->2	23	[0–127]	—	Amount of input 3 that will be summed into output 2 Note: Neg. value -> CV inverted	Centered
Mix 4->2	24	[0–127]	—	Amount of input 4 that will be summed into output 2 Note: Neg. value -> CV inverted	Centered
Mix 5->2	25	[0–127]	—	Amount of input 5 that will be summed into output 2 Note: Neg. value -> CV inverted	Centered
Mix 6->2	26	[0–127]	—	Amount of input 6 that will be summed into output 2 Note: Neg. value -> CV inverted	Centered
Mix 1->3	27	[0–127]	—	Amount of input 1 that will be summed into output 3 Note: Neg. value -> CV inverted	Centered
Mix 2->3	28	[0–127]	—	Amount of input 2 that will be summed into output 3 Note: Neg. value -> CV inverted	Centered
Mix 3->3	29	[0–127]	—	Amount of input 3 that will be summed into output 3 Note: Neg. value -> CV inverted	Centered
Mix 4->3	30	[0–127]	—	Amount of input 4 that will be summed into output 3 Note: Neg. value -> CV inverted	Centered
Mix 5->3	31	[0–127]	—	Amount of input 5 that will be summed into output 3 Note: Neg. value -> CV inverted	Centered
Mix 6->3	32	[0–127]	—	Amount of input 6 that will be summed into output 3 Note: Neg. value -> CV inverted	Centered
Mix 1->4	33	[0–127]	—	Amount of input 1 that will be summed into output 4 Note: Neg. value -> CV inverted	Centered
Mix 2->4	34	[0–127]	—	Amount of input 2 that will be summed into output 4 Note: Neg. value -> CV inverted	Centered
Mix 3->4	35	[0–127]	—	Amount of input 3 that will be summed into output 4 Note: Neg. value -> CV inverted	Centered
Mix 4->4	36	[0–127]	—	Amount of input 4 that will be summed into output 4 Note: Neg. value -> CV inverted	Centered
Mix 5->4	37	[0–127]	—	Amount of input 5 that will be summed into output 4 Note: Neg. value -> CV inverted	Centered
Mix 6->4	38	[0–127]	—	Amount of input 6 that will be summed into output 4 Note: Neg. value -> CV inverted	Centered
In offset 1	39	[0–127]	—	Offset for input 1 Note: Unit depends on 'In offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
In offset 2	40	[0–127]	—	Offset for input 2 Note: Unit depends on 'In offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
In offset 3	41	[0–127]	—	Offset for input 3 Note: Unit depends on 'In offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
In offset 4	42	[0–127]	—	Offset for input 4 Note: Unit depends on 'In offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
In offset 5	43	[0–127]	—	Offset for input 5 Note: Unit depends on 'In offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
In offset 6	44	[0–127]	—	Offset for input 6 Note: Unit depends on 'In offset type' parameter. Net offset in mV is shown to the right of the parameter value.	Centered
In offset 1 type	45	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for In 1 offset	0-based
In offset 2 type	46	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for In 2 offset	0-based
In offset 3 type	47	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for In 3 offset	0-based
In offset 4 type	48	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for In 4 offset	0-based
In offset 5 type	49	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for In 5 offset	0-based
In offset 6 type	50	[0–127]	0: Volts; 1: milliVolts; 2: semitones (multiples of 83 mV)	Unit for In 6 offset	0-based
Out Quantize 1	51	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for output 1 Note: Quantization is applied after the output offset.	0-based
Out Quantize 2	52	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for output 2 Note: Quantization is applied after the output offset.	0-based
Out Quantize 3	53	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for output 3 Note: Quantization is applied after the output offset.	0-based
Out Quantize 4	54	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for output 4 Note: Quantization is applied after the output offset.	0-based
In Quantize 1	55	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for input 1 Note: Quantization is applied after the output offset.	0-based
In Quantize 2	56	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for input 2 Note: Quantization is applied after the output offset.	0-based
In Quantize 3	57	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for input 3 Note: Quantization is applied after the output offset.	0-based
In Quantize 4	58	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for input 4 Note: Quantization is applied after the output offset.	0-based
In Quantize 5	59	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for input 5 Note: Quantization is applied after the output offset.	0-based
In Quantize 6	60	[0–127]	0: No Quantization; 1: Quantization to whole Volts; 2: Quantization to semitones; 3: semitone value per octave	Sets the quantization for input 6 Note: Quantization is applied after the output offset.	0-based
Smoothing 1	61	[0–127]	—	Amount of smoothing applied to the coefficients of the mixes for output 1 Note: Smoothing X applies smoothing to Out offset X and the six Mix N->X parameters	0-based
Smoothing 2	62	[0–127]	—	Amount of smoothing applied to the coefficients of the mixes for output 2 Note: Smoothing X applies smoothing to Out offset X and the six Mix N->X parameters	0-based
Smoothing 3	63	[0–127]	—	Amount of smoothing applied to the coefficients of the mixes for output 3 Note: Smoothing X applies smoothing to Out offset X and the six Mix N->X parameters	0-based
Smoothing 4	65	[0–127]	—	Amount of smoothing applied to the coefficients of the mixes for output 4 Note: Smoothing X applies smoothing to Out offset X and the six Mix N->X parameters	0-based

Augustus Loop

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies an attenuverter to input 1 Note: Neg. value -> CV inverted	0-based
Attenuverter 2	2	[0–127]	—	Applies an attenuverter to input 2 Note: Neg. value -> CV inverted	0-based
Attenuverter 3	3	[0–127]	—	Applies an attenuverter to input 3 Note: Neg. value -> CV inverted	0-based
Attenuverter 4	4	[0–127]	—	Applies an attenuverter to input 4 Note: Neg. value -> CV inverted	0-based
Attenuverter 5	5	[0–127]	—	Applies an attenuverter to input 5 Note: Neg. value -> CV inverted	0-based
Attenuverter 6	6	[0–127]	—	Applies an attenuverter to input 6 Note: Neg. value -> CV inverted	0-based
Time (coarse)	7	[0–127]	—	Sets the delay time in multiples of 100ms. Note: The coarse and fine delay times are added to produce the actual delay time	0-based
Time (fine)	8	[0–127]	—	Sets an adjustment to the delay time in milliseconds Note: The coarse and fine delay times are added to produce the actual delay time	Centered
Delay multiplier	9	[0–127]	0~23: 1/64 multiplier to x16 multiplier	A multiplier to apply to the delay time set by the parameters the tap tempo or the clock	0-based
Feedback	10	[0–127]	—	The master delay feedback amount	Centered
Dry gain	11	[0–127]	—	The amount of the dry signal to mix into the outputs Note: At '-40' there is no dry signal at all (it's actually –∞dB)	0-based
Effect gain	12	[0–127]	—	The amount of the effect (delay) signal to mix into the outputs Note: At '-40' there is no dry signal at all (it's actually –∞dB)	0-based
L-L Time	13	[0–127]	—	Scales the delay time of the left-to-left feedback path as a percentage of the master delay time	0-based
L-R Time	14	[0–127]	—	Scales the delay time of the left-to-right feedback path as a percentage of the master delay time	Centered
R-L Time	15	[0–127]	—	Scales the delay time of the right-to-left feedback path as a percentage of the master delay time	Centered
R-R Time	16	[0–127]	—	Scales the delay time of the right-to-right feedback path as a percentage of the master delay time	0-based
L-L Level	17	[0–127]	—	Scales the amount of the delayed left signal mixed into the left feedback path	0-based
L-R Level	18	[0–127]	—	Scales the amount of the delayed left signal mixed into the right feedback path	0-based
R-L Level	19	[0–127]	—	Scales the amount of the delayed right signal mixed into the left feedback path	0-based
R-R Level	20	[0–127]	—	Scales the amount of the delayed right signal mixed into the right feedback path	0-based
Mono-ize	21	[0–127]	—	Reduces the stereo width of the incoming signal Note: At zero the signal is reduced to mono at a pan position set by the 'Initial pan' parameter	0-based
Initial Pan	22	[0–127]	—	Sets the pan position of the mono-ized signal Note: 0 is fully left. 127 is fully right	0-based
Input level	23	[0–127]	—	Attenuates the input signal fed to the tape write head	0-based
Pitch intertia	24	[0–125]	—	Sets the amount of 'inertia' or slew on the pitch CV input Note: At zero the tape speed follows the pitch input closely. At the maximum value pitch changes are quite gradual	Centered
Stop tape	25	[0–127]	—	When set to '1' the tape speed is set to zero Note: Note that the Pitch inertia affects how quickly the tape stops and starts	0-based
Reverse tape	26	[0–127]	—	When set to '1' the tape is reversed Note: Note that the Pitch inertia affects how quickly the tape reverses	0-based
Mono input	27	[0–127]	0: Inputs 1 and 2 used as stereo input; 1: Input 1 is used as a mono input	Switches stereo to mono Note: When set to 1 only input 1 is used as a mono input (leaving input 2 free for parameter mapping)	0-based
Sample rate	28	[0–127]	0: 48kHz; 1: 96kHz	Controls the sample rate at which the algorithm runs Note: At 0 the algorithm runs at 48kHz which doubles the maximum delay time. At 1 the algorithm runs at full speed (96kHz)	0-based
Bit depth	29	[0–127]	—	Controls the bit depth used in the delay memory Note: It is not the bit depth used in any other processing. Settings this to '0' (16 bit) doubles the maximum delay time	0-based
Inertia free	30	[0–127]	—	Enables 'Inertia free' mode	0-based
Inertia fade time	31	[0–127]	—	The fade time to use when in Inertia free mode	0-based
Pitch CV input	32	[0–127]	—	The CV input to use for pitch or 0 for none	0-based
Clock input	33	[0–127]	—	The CV input to use as the clock or 0 for none Note: The delay time is set as the time between two rising clock edges	Centered
Tap tempo	34	[0–127]	—	When switched from 0 to 1 the algorithm acts on a tap tempo event Note: The 'Tap tempo' parameter allows for a tap tempo function. Typically you would map this to a button push or a MIDI event. By default it is mapped to the 'L' button	0-based
Clocks required	35	[13–127]	—	Sets the number of consistent clocks required to change the delay time Note: By raising the value the manual '1' you're telling the algorithm to only change the delay time when it receives a number of clocks of the same time in succession ('same' here means within 10%) - so it will ignore the rogue clock you get from stopping and starting the transport	0-based
Filter type	36	[0–127]	—	Sets the filter type Note: A second order state variable filter is available within the delay feedback path. The 'Filter type' parameter lets you smoothly fade between the various responses – 'thru' (i.e. No filtering) low pass band pass high pass and back to thru	0-based
Filter freq	37	[0–127]	—	Sets the filter frequency	Centered
Filter Q	38	[0–127]	—	Sets the filter resonance	0-based
FX loop position	39	[0–127]	0: Disabled; 64: Pre-Filter; 127: Post filter	Enables the effects loop and sets in position the signal flow Note: Enabling the 'FX Loop position' (i.e. Setting it to something other than Off) breaks the internal delay feedback path and sends it out of and back into the module allowing you to insert other effects or processing into the delay	0-based
FX Loop input	40	[0–127]	0: In 1; 14: In 2; 28: In 3; 40: In 4; 53:In 5; 66: In 6; 79: In 1/2; 92: In 2/3; 105: In 3/4; 118: In 4/5; 127: In 5/6	Sets the effects loop input	Centered
Clear loop	41	[0–127]	—	Instigates a rapid clear of the delay buffer (while maintaining passthrough of the dry signal) Note: 2 states: 0-63 and 64-127	0-based
Saturation enable	42	[0–127]	—	Enables the saturation processing (on the tape output before the filter) Note: 2 states only	0-based
Saturation	43	[0–127]	—	Sets the depth of the saturation effect by applying gain before the saturation waveshaper	0-based
Saturation shape	44	[0–127]	0~127: Hard digital clipping to soft saturation and clipping	Controls the shape of the saturation Note: At '127' the effect is that of soft saturation and clipping. At '0' the effect is of hard digital clipping	0-based
Pitch LFO speed	45	[0–127]	—	Sets the speed of the pitch modulation LFO	0-based
Pitch LFO depth	46	[0–127]	—	Sets the depth of pitch modulation by the LFO	0-based

SD Multisample

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies an attenuverter to input 1 Note: Neg. value -> CV inverted	0-based
Attenuverter 2	2	[0–127]	—	Applies an attenuverter to input 2 Note: Neg. value -> CV inverted	0-based
Attenuverter 3	3	[0–127]	—	Applies an attenuverter to input 3 Note: Neg. value -> CV inverted	0-based
Attenuverter 4	4	[0–127]	—	Applies an attenuverter to input 4 Note: Neg. value -> CV inverted	0-based
Attenuverter 5	5	[0–127]	—	Applies an attenuverter to input 5 Note: Neg. value -> CV inverted	0-based
Attenuverter 6	6	[0–127]	—	Applies an attenuverter to input 6 Note: Neg. value -> CV inverted	0-based
Folder	7	[0–127]	—	The folder on the MicroSD card from which to load the samples	0-based
Attack time	8	[0–127]	—	The envelope attack time. Range 1ms-15s or zero at value '0'	0-based
Decay time	9	[0–127]	—	The envelope decay time. Range 20ms-15s	0-based
Sustain level	10	[0–127]	—	The envelope sustain level	0-based
Release time	11	[0–127]	—	The envelope release time. Range 10ms-30s Note: The value 127 means infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot	0-based
Octave	12	[0–127]	—	Transposes the whole instrument in octaves	Centered
Transpose	13	[0–127]	—	Transposes the whole instrument in semitones	Centered
Fine tune	14	[0–127]	—	Tunes the whole instrument in cents	Centered
Gain	15	[0–127]	—	Applies an output gain (before saturation if enabled) Note: The default level is intended to be appropriate for playing chords – if you're playing monophonic lines you may like to boost the level	0-based
Saturation	16	[0–127]	—	Enables a soft saturation stage at the output Note: This will prevent harsh digital clipping at the expense of some colouration of the sound when driven loud	0-based
Sustain	17	[0–127]	—	Activates sustain (notes remain playing when the gate goes low) Note: 2 steps. On and off	0-based
Max voices	18	[1–127]	—	Sets the maximum number of simultaneous voices	0-based
Bend range	19	[0–127]	—	The pitch bend range in semitones Note: Applies both to MIDI pitch bend and to CV pitch bend in which case a CV of ±5V maps to the chosen bend range	0-based
Pitch bend input	20	[0–127]	—	The pitch bend input or 0 for none Note: 7 steps	0-based
Voice 1 detune	21	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 2 detune	22	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 3 detune	23	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 4 detune	24	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 5 detune	25	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 6 detune	26	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 7 detune	27	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Voice 8 detune	28	[0–127]	—	Sets a per-voice detune Note: Example: to mimic an old polysynth with a badly tuned voice card	Centered
Chord enable	29	[0–127]	0: Off; 1: On; 2: Gate 1; 3: Gate 2; 4: Gate 3; 5: Gates 1&1; 6: Gates 1&3; 7: Gates 2&3	Enables the chord generator function Note: The chord generator can be on or off globally or enabled per timbre	0-based
Chord key	30	[0–127]	—	The key of the chord generator. 0 is C. 1 is C-sharp / D-flat, etc Note: 25 Steps.	Centered
Chord scale	31	[0–127]	0: Major; 1: Natural Minor; 2: Dominant; 3: Fully diminished; 4: Dominant Dim; 5: Augmented; 6: Whole Tone; 7: Chromatic; 8: Harmonic Minor	The scale of the chord generator	0-based
Chord shape	32	[0–127]	0: None; 1: 1 Octave; 2: 2 Octaves; 3: Root/Fifth; 4: Root/Fifth + 8ve; 5: Triad; 6: Triad + 8ve; 7: Sus4; 8: Sus4 + 8ve; 9: Sixth; 10: Sixth + 8ve; 11: Seventh; 12: Seventh + 8ve; 13: Ninth	The shape of the chord generator	0-based
Chord inversion	33	[0–127]	—	The chord inversion Note: 4 Steps. For example the first inversion takes the first note of the chord and moves it an octave up so the lowest note in the chord is now the second (e.g. C E G becomes E G C)	0-based
Arpeggio 1 mode	34	[0–127]	0: Off; 1: Up; 2: Down; 3: Alt; 4: Alt2; 5: Up-8ve; 6: Down-8ve; 7: Alt-8ve; 8:Alt2-8ve; 9: Step Up; 10: Step Down; 11: Random; 12: Random2; 13: Random3; 14: As Played	The arpeggiator mode for timbre 1	0-based
Arpeggio 2 mode	35	[0–127]	0: Off; 1: Up; 2: Down; 3: Alt; 4: Alt2; 5: Up-8ve; 6: Down-8ve; 7: Alt-8ve; 8:Alt2-8ve; 9: Step Up; 10: Step Down; 11: Random; 12: Random2; 13: Random3; 14: As Played	The arpeggiator mode for timbre 2 Note: 15 Steps. 0: off 1: Up 2: Down and so forth	0-based
Arpeggio 3 mode	36	[0–127]	0: Off; 1: Up; 2: Down; 3: Alt; 4: Alt2; 5: Up-8ve; 6: Down-8ve; 7: Alt-8ve; 8:Alt2-8ve; 9: Step Up; 10: Step Down; 11: Random; 12: Random2; 13: Random3; 14: As Played	The arpeggiator mode for timbre 3 Note: 15 Steps. 0: off 1: Up 2: Down and so forth	0-based
Arpeggio 1 range	37	[1–127]	—	Arpeggio 1 range setting Note: 3 Steps. When set to 1 the arpeggio is simply the notes formed by the chord. When set to 2 or 3. A copy of the chord is appended to the pattern one or two octaves higher creating a longer pattern that spans multiple octaves	0-based
Arpeggio 2 range	38	[1–127]	—	Arpeggio 2 range setting Note: 3 Steps. When set to 1 the arpeggio is simply the notes formed by the chord. When set to 2 or 3. A copy of the chord is appended to the pattern one or two octaves higher creating a longer pattern that spans multiple octaves	0-based
Arpeggio 3 range	39	[1–127]	—	Arpeggio 3 range setting Note: 3 Steps. When set to 1 the arpeggio is simply the notes formed by the chord. When set to 2 or 3. A copy of the chord is appended to the pattern one or two octaves higher creating a longer pattern that spans multiple octaves	0-based
Scala/MTS	40	[0–127]	—	Sets the Scala scale or MTS tuning to use Note: 6 steps. Setting Scala/MTS to '1' chooses the scl file supplied over MIDI. Scala/MTS values of '2' or higher select scl files from the MicroSD card	0-based
Scala KBM	41	[0–127]	—	Sets the Scala keyboard map to use Note: 5 Steps. Setting Scala KBM to '1' chooses the file supplied over MIDI and values of '2' or higher select kbm files from the MicroSD card	0-based
Folder 2	42	[0–127]	—	The folder on the MicroSD card from which to load the samples for timbre 2 Note: 0 to use the primary folder (parameter 7)	0-based
Folder 3	43	[0–127]	—	The folder on the MicroSD card from which to load the samples for timbre 3 Note: 0 to use the primary folder (parameter 7)	0-based
Min note 1	44	[0–127]	—	The lowest note to respond to for timbre 1	0-based
Max note 1	45	[0–127]	—	The highest note to respond to for timbre 1	0-based
Min note 2	46	[0–127]	—	The lowest note to respond to for timbre 2	0-based
Max note 2	47	[0–127]	—	The highest note to respond to for timbre 2	0-based
Min note 3	48	[0–127]	—	The lowest note to respond to for timbre 3	0-based
Max note 3	49	[0–127]	—	The highest note to respond to for timbre 3	0-based
Delay mode	51	[0–127]	—	The type of delay effect: 'Off' 'Stereo' or 'Ping-pong' Note: 3 Steps	0-based
Output spread	50	[0–127]	—	Sets the amount by which voices are panned according to the 'Output mode'	Centered
Delay level	52	[0–127]	—	The level of the delay effect. '-40' is treated as –∞dB	0-based
Delay time	53	[0–127]	—	The delay time in milliseconds Note: Default: 500 ms	0-based
Delay feedback	54	[0–127]	—	The delay feedback	Centered
Tone bass	55	[0–127]	—	Bass EQ cut or boost Note: Default: 0 dB	Centered
Tone treble	56	[0–127]	—	Treble EQ cut or boost Note: Default: 0 dB	Centered
Break time	57	[0–127]	—	The 'break' time for chords or 0 for off Note: 127: 1000 ms	0-based
Break direction	58	[0–127]	0: Up; 1: Down; 2: Alternating	The 'break' direction Note: The 'Break time' and 'Break direction' parameters allow you to automatically 'break' chords i.e. The notes are played one at a time instead of simultaneously	0-based
Voice 1 bend input	59	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 2 bend input	60	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 3 bend input	61	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 4 bend input	62	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 5 bend input	63	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 6 bend input	64	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 7 bend input	65	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Voice 8 bend input	66	[0–127]	—	The per-voice pitch bend input or 0 for none Note: 7 steps	0-based
Output mode	67	[0–127]	—	Sets how the outputs are used Note: 5 steps	0-based
Input mode	68	[0–127]	—	Sets how the inputs are used for CV/gate control Note: 10 Steps	0-based
Sustain mode	69	[0–127]	—	Sets the behaviour of the sustain function Note: 2 Steps. Synth and Piano	0-based
MIDI vel curve	70	[0–127]	—	Selects a velocity curve applied to incoming MIDI notes Note: 4 Steps	0-based
Arp reset input	71	[0–127]	—	The input to use as the arpeggiator reset or 0 for none Note: 7 steps	0-based
Gate offset	72	[0–127]	—	Offsets (delays) the gate inputs relative to the pitch inputs Note: 496 Steps	0-based
Round robin mode	73	[0–127]	0: Sequential; 1~3: Random	Sets how round-robins are used Note: 4 Steps. 0: Sequential 1-3:Random	0-based

SD 6 Triggers

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies an attenuverter to input 1 Note: Negative=invert	0-based
Attenuverter 2	2	[0–127]	—	Applies an attenuverter to input 2 Note: Negative=invert	0-based
Attenuverter 3	3	[0–127]	—	Applies an attenuverter to input 3 Note: Negative=invert	0-based
Attenuverter 4	4	[0–127]	—	Applies an attenuverter to input 4 Note: Negative=invert	0-based
Attenuverter 5	5	[0–127]	—	Applies an attenuverter to input 5 Note: Negative=invert	0-based
Attenuverter 6	6	[0–127]	—	Applies an attenuverter to input 6 Note: Negative=invert	0-based
Folder	7	[0–127]	—	The folder on the MicroSD card to load the samples from.	0-based
Sample 1	8	[0–127]	—	The sample chosen for voice 1. The special value -1 disables the voice. Note: Pressing 'R' while one of these parameters is current triggers the sample (for previewing)	0-based
Sample 2	9	[0–127]	—	The sample chosen for voice 2. The special value -1 disables the voice. Note: Pressing 'R' while one of these parameters is current triggers the sample (for previewing)	0-based
Sample 3	10	[0–127]	—	The sample chosen for voice 3. The special value -1 disables the voice. Note: Pressing 'R' while one of these parameters is current triggers the sample (for previewing)	0-based
Sample 4	11	[0–127]	—	The sample chosen for voice 4. The special value -1 disables the voice. Note: Pressing 'R' while one of these parameters is current triggers the sample (for previewing)	0-based
Sample 5	12	[0–127]	—	The sample chosen for voice 5. The special value -1 disables the voice. Note: Pressing 'R' while one of these parameters is current triggers the sample (for previewing)	0-based
Sample 6	13	[0–127]	—	The sample chosen for voice 6. The special value -1 disables the voice. Note: Pressing 'R' while one of these parameters is current triggers the sample (for previewing)	0-based
Output 1	14	[0–127]	1~4: Single output; 5: 1+2 stereo; 6: 3+4 stereo; 7: 1+2 stereo with 3 as mono; 8: 1+2 stereo with 4 as mono	The output assignment for voice 1. Note: 8 Steps.	0-based
Output 2	15	[0–127]	1~4: Single output; 5: 1+2 stereo; 6: 3+4 stereo; 7: 1+2 stereo with 3 as mono; 8: 1+2 stereo with 4 as mono	The output assignment for voice 2. Note: 8 Steps.	0-based
Output 3	16	[0–127]	1~4: Single output; 5: 1+2 stereo; 6: 3+4 stereo; 7: 1+2 stereo with 3 as mono; 8: 1+2 stereo with 4 as mono	The output assignment for voice 3. Note: 8 Steps.	0-based
Output 4	17	[0–127]	1~4: Single output; 5: 1+2 stereo; 6: 3+4 stereo; 7: 1+2 stereo with 3 as mono; 8: 1+2 stereo with 4 as mono	The output assignment for voice 4. Note: 8 Steps.	0-based
Output 5	18	[0–127]	1~4: Single output; 5: 1+2 stereo; 6: 3+4 stereo; 7: 1+2 stereo with 3 as mono; 8: 1+2 stereo with 4 as mono	The output assignment for voice 5. Note: 8 Steps.	0-based
Output 6	19	[0–127]	1~4: Single output; 5: 1+2 stereo; 6: 3+4 stereo; 7: 1+2 stereo with 3 as mono; 8: 1+2 stereo with 4 as mono	The output assignment for voice 6. Note: 8 Steps.	0-based
Gain 1	20	[0–127]	—	The gain for voice 1 (dB).	0-based
Gain 2	21	[0–127]	—	The gain for voice 2 (dB).	0-based
Gain 3	22	[0–127]	—	The gain for voice 3 (dB).	0-based
Gain 4	23	[0–127]	—	The gain for voice 4 (dB).	0-based
Gain 5	24	[0–127]	—	The gain for voice 5 (dB).	0-based
Gain 6	25	[0–127]	—	The gain for voice 6 (dB).	0-based
Pan 1	26	[0–127]	—	The pan position for voice 1 (if assigned to a stereo output). Note: 64=center	Centered
Pan 2	27	[0–127]	—	The pan position for voice 2 (if assigned to a stereo output). Note: 64=center	Centered
Pan 3	28	[0–127]	—	The pan position for voice 3 (if assigned to a stereo output). Note: 64=center	Centered
Pan 4	29	[0–127]	—	The pan position for voice 4 (if assigned to a stereo output). Note: 64=center	Centered
Pan 5	30	[0–127]	—	The pan position for voice 5 (if assigned to a stereo output). Note: 64=center	Centered
Pan 6	31	[0–127]	—	The pan position for voice 6 (if assigned to a stereo output). Note: 64=center	Centered
Env Time 1	32	[0–127]	—	Release envelope time (0..100. 100 means infinite). Note: 100=infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot.	0-based
Env Time 2	33	[0–127]	—	Release envelope time (0..100. 100 means infinite). Note: 100=infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot.	0-based
Env Time 3	34	[0–127]	—	Release envelope time (0..100. 100 means infinite). Note: 100=infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot.	0-based
Env Time 4	35	[0–127]	—	Release envelope time (0..100. 100 means infinite). Note: 100=infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot.	0-based
Env Time 5	36	[0–127]	—	Release envelope time (0..100. 100 means infinite). Note: 100=infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot.	0-based
Env Time 6	37	[0–127]	—	Release envelope time (0..100. 100 means infinite). Note: 100=infinite - the sample will play forever or until it stops depending on whether it is looped or one-shot.	0-based
Transpose 1	38	[0–127]	—	Transpose voice 1 in semitones. Note: 64=0 semitones	Centered
Transpose 2	39	[0–127]	—	Transpose voice 2 in semitones. Note: 64=0 semitones	Centered
Transpose 3	40	[0–127]	—	Transpose voice 3 in semitones. Note: 64=0 semitones	Centered
Transpose 4	41	[0–127]	—	Transpose voice 4 in semitones. Note: 64=0 semitones	Centered
Transpose 5	42	[0–127]	—	Transpose voice 5 in semitones. Note: 64=0 semitones	Centered
Transpose 6	43	[0–127]	—	Transpose voice 6 in semitones. Note: 64=0 semitones	Centered
Fine tune 1	44	[0–127]	—	Fine tuning voice 1 in cents. Note: 64=0 cents	Centered
Fine tune 2	45	[0–127]	—	Fine tuning voice 2 in cents. Note: 64=0 cents	Centered
Fine tune 3	46	[0–127]	—	Fine tuning voice 3 in cents. Note: 64=0 cents	Centered
Fine tune 4	47	[0–127]	—	Fine tuning voice 4 in cents. Note: 64=0 cents	Centered
Fine tune 5	48	[0–127]	—	Fine tuning voice 5 in cents. Note: 64=0 cents	Centered
Fine tune 6	49	[0–127]	—	Fine tuning voice 6 in cents. Note: 64=0 cents	Centered
Choke group 1	50	[0–127]	—	Choke group for voice 1 (0=off). Note: 4 Steps. When a voice in a choke group is triggered it ends the playback of any other voices in the same choke group.	0-based
Choke group 2	51	[0–127]	—	Choke group for voice 2 (0=off). Note: 4 Steps. When a voice in a choke group is triggered it ends the playback of any other voices in the same choke group.	0-based
Choke group 3	52	[0–127]	—	Choke group for voice 3 (0=off). Note: 4 Steps. When a voice in a choke group is triggered it ends the playback of any other voices in the same choke group.	0-based
Choke group 4	53	[0–127]	—	Choke group for voice 4 (0=off). Note: 4 Steps. When a voice in a choke group is triggered it ends the playback of any other voices in the same choke group.	0-based
Choke group 5	54	[0–127]	—	Choke group for voice 5 (0=off). Note: 4 Steps. When a voice in a choke group is triggered it ends the playback of any other voices in the same choke group.	0-based
Choke group 6	55	[0–127]	—	Choke group for voice 6 (0=off). Note: 4 Steps. When a voice in a choke group is triggered it ends the playback of any other voices in the same choke group.	0-based
Start offset 1	56	[0–127]	—	Start playback position for voice 1 (percent of sample length). Note: Shows ms on bottom line	0-based
Start offset 2	57	[0–127]	—	Start playback position for voice 2 (percent of sample length). Note: Shows ms on bottom line	0-based
Start offset 3	58	[0–127]	—	Start playback position for voice 3 (percent of sample length). Note: Shows ms on bottom line	0-based
Start offset 4	59	[0–127]	—	Start playback position for voice 4 (percent of sample length). Note: Shows ms on bottom line	0-based
Start offset 5	60	[0–127]	—	Start playback position for voice 5 (percent of sample length). Note: Shows ms on bottom line	0-based
Start offset 6	61	[0–127]	—	Start playback position for voice 6 (percent of sample length). Note: Shows ms on bottom line	0-based
Out 1 Saturation	62	[0–127]	—	Enable soft saturation on output 1. Note: 2 Steps. Saturation prevents harsh digital clipping at the expense of some colouration of the sound when driven loud.	0-based
Out 2 Saturation	63	[0–127]	—	Enable soft saturation on output 2. Note: 2 Steps. Saturation prevents harsh digital clipping at the expense of some colouration of the sound when driven loud.	0-based
Out 3 Saturation	64	[0–127]	—	Enable soft saturation on output 3. Note: 2 Steps. Saturation prevents harsh digital clipping at the expense of some colouration of the sound when driven loud.	0-based
Out 4 Saturation	65	[0–127]	—	Enable soft saturation on output 4. Note: 2 Steps. Saturation prevents harsh digital clipping at the expense of some colouration of the sound when driven loud.	0-based
Folder 2	66	[0–127]	—	Folder for voice 2 (-1 uses primary Folder).	0-based
Folder 3	67	[0–127]	—	Folder for voice 3 (-1 uses primary Folder).	0-based
Folder 4	68	[0–127]	—	Folder for voice 4 (-1 uses primary Folder).	0-based
Folder 5	69	[0–127]	—	Folder for voice 5 (-1 uses primary Folder).	0-based
Folder 6	70	[0–127]	—	Folder for voice 6 (-1 uses primary Folder).	0-based
Round robin mode	71	[0–127]	0: Sequential; 1~3: Random	Selects how round-robins are used. Note: 4 Steps.	0-based

WAV Recorder

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies an attenuverter to the input 1 Note: Negative=invert	Centered
Attenuverter 2	2	[0–127]	—	Applies an attenuverter to the input 2 Note: Negative=invert	Centered
Attenuverter 3	3	[0–127]	—	Applies an attenuverter to the input 3 Note: Negative=invert	Centered
Attenuverter 4	4	[0–127]	—	Applies an attenuverter to the input 4 Note: Negative=invert	Centered
Attenuverter 5	5	[0–127]	—	Applies an attenuverter to the input 5 Note: Negative=invert	Centered
Attenuverter 6	6	[0–127]	—	Applies an attenuverter to the input 6 Note: Negative=invert	Centered
Input gain	7	[0–127]	—	The gain to apply to the inputs. Note: DB gain	0-based
Sample rate	8	[0–127]	0: 48kHz; 1: 96kHz	The sample rate of the recording Note: 2 Steps	0-based
Bit depth	9	[0–127]	0: 16-bit; 1: 24-bit	The bit depth of the recording. Note: 2 Steps.	0-based
Channels	10	[0–127]	—	The number of channels to record. Note: 6 Steps	0-based
Rec CV Mode	11	[0–127]	0: Trigger; 1: Gate	Record CV control (input 5). Note: 2 Steps. 0=trigger 1=gate.	0-based
Play CV Mode	12	[0–127]	0: Trigger; 1: Gate	Play CV control (input 6). Note: 2 Steps. 0=trigger 1=gate.	0-based
Play As Loop	13	[0–127]	0: One-shot; 1: Loop	Playback mode. Note: 2 Steps. 0=one-shot 1=loop.	0-based
Outputs 1/2	14	[0–127]	0: Thru; 1: Thru/play; 2: Play	Output 1/2 mode: Note: Thru/Play: Thru unless playback active. Play: playback if active else nothing.	0-based
Outputs 3/4	15	[0–127]	0: Thru; 1: Thru/play; 2: Play	Output 3/4 mode: Note: Thru/Play: Thru unless playback active. Play: playback if active else nothing.	0-based
AS Enable	16	[0–127]	—	Enables the auto-sampler. Note: 2 Steps	0-based
AS Start Note	17	[0–127]	—	Auto-sampler start note (MIDI note number 48 is 0V for the CV output). Note: MIDI note number	0-based
AS End Note	18	[0–127]	—	Auto-sampler end note (MIDI note number). Note: MIDI note number	0-based
AS Note Step	19	[0–127]	—	Auto-sampler note step.	0-based
AS Vel Sw	20	[0–127]	—	Number of auto-sampler velocity switch layers. Note: 9 Steps	0-based
AS RRobins	21	[0–127]	—	Number of auto-sampler round-robins. Note: 9 Steps	0-based
AS Coarse	22	[0–127]	—	Auto-sampler note on time (coarse). Note: Seconds	0-based
AS Fine	23	[0–127]	—	Auto-sampler note on time (fine). Note: Milliseconds	Centered
AS Gap	24	[0–127]	—	Auto-sampler gap time (time between note-ons. keep recording after note). Note: X 100ms units	0-based
AS Latency	25	[0–127]	—	Auto-sampler latency adjustment.	0-based
Thru routing 1	26	[0–127]	—	Sets routing for input 1. 0=None 1-4=Out1-4 5=Out1+2 6=Out3+4. Note: 7 Steps	0-based
Thru routing 2	27	[0–127]	—	Sets routing for input 2. 0=None 1-4=Out1-4 5=Out1+2 6=Out3+4. Note: 7 Steps	0-based
Thru routing 3	28	[0–127]	—	Sets routing for input 3. 0=None 1-4=Out1-4 5=Out1+2 6=Out3+4. Note: 7 Steps	0-based
Thru routing 4	29	[0–127]	—	Sets routing for input 4. 0=None 1-4=Out1-4 5=Out1+2 6=Out3+4. Note: 7 Steps	0-based
Thru routing 5	30	[0–127]	—	Sets routing for input 5. 0=None 1-4=Out1-4 5=Out1+2 6=Out3+4. Note: 7 Steps	0-based
Thru routing 6	31	[0–127]	—	Sets routing for input 6. 0=None 1-4=Out1-4 5=Out1+2 6=Out3+4. Note: 7 Steps	0-based
AS Min velocity	32	[0–127]	—	Minimum velocity for auto-sampling with velocity switch layers. Note: MIDI velocity	0-based
AS Max velocity	33	[0–127]	—	Maximum velocity for auto-sampling with velocity switch layers Note: MIDI velocity. fixed velocity if not using switches	0-based
Playback file	34	—	—	Chooses the file to be played when starting playback. Note: Select file	0-based
Record enable	35	[0–127]	—	If 0 recording cannot be started/stopped by pressing 'L'. Note: 2 Steps	0-based
Playback enable	36	[0–127]	—	If 0 playback cannot be started/stopped by pressing 'R'. Note: 2 Steps	0-based
Playback gain	37	[0–127]	—	Sets the playback level. Note: DB gain	0-based
AS Preview note	38	[0–127]	—	MIDI note number to use when previewing in the auto-sampler. Note: MIDI note number	0-based

Multi-Switch

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies an attenuverter to input 1. Note: Unit = %. Internal range -200 to 200. Negative values invert CV.	0-based
Attenuverter 2	2	[0–127]	—	Applies an attenuverter to input 2. Note: Unit = %. Internal range -200 to 200. Negative values invert CV.	0-based
Attenuverter 3	3	[0–127]	—	Applies an attenuverter to input 3. Note: Unit = %. Internal range -200 to 200. Negative values invert CV.	0-based
Attenuverter 4	4	[0–127]	—	Applies an attenuverter to input 4. Note: Unit = %. Internal range -200 to 200. Negative values invert CV.	0-based
Attenuverter 5	5	[0–127]	—	Applies an attenuverter to input 5. Note: Unit = %. Internal range -200 to 200. Negative values invert CV.	0-based
Attenuverter 6	6	[0–127]	—	Applies an attenuverter to input 6. Note: Unit = %. Internal range -200 to 200. Negative values invert CV.	0-based
Macro 1	7	[0–127]	—	Control source for input 1. Note: Internal range 0 to 127. Can be mapped to CV/MIDI.	0-based
Macro 2	8	[0–127]	—	Control source for input 2. Note: Internal range 0 to 127. Can be mapped to CV/MIDI.	0-based
Macro 3	9	[0–127]	—	Control source for input 3. Note: Internal range 0 to 127. Can be mapped to CV/MIDI.	0-based
Macro 4	10	[0–127]	—	Control source for input 4. Note: Internal range 0 to 127. Can be mapped to CV/MIDI.	0-based
Macro 5	11	[0–127]	—	Control source for input 5. Note: Internal range 0 to 127. Can be mapped to CV/MIDI.	0-based
Macro 6	12	[0–127]	—	Control source for input 6. Note: Internal range 0 to 127. Can be mapped to CV/MIDI.	0-based
A inputs	13	[0–127]	—	Defines the inputs for switch A. Note: Internal range 0 to 31. See 'inputs choices' in manual.	0-based
A outputs	14	[0–127]	—	Defines the outputs for switch A. Note: Internal range 0 to 13. See 'outputs choices' in manual.	0-based
A in control	15	[0–127]	—	Control source for input switch A. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
A in control type	16	[0–127]	—	Control source type for input switch A. Note: Internal range 0 to 9. Changes options for 'in control'.	0-based
A out control	17	[0–127]	—	Control source for output switch A. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
A out control type	18	[0–127]	—	Control source type for output switch A. Note: Internal range 0 to 9. Changes options for 'out control'.	0-based
A reset	19	[0–127]	—	Reset source for switch A. Note: Internal range 0 to 12. See 'reset sources' in manual.	0-based
A fade	20	[0–127]	—	Crossfade time for switch A. Note: Unit = ms. Internal range 0 to 1000. Time in milliseconds.	0-based
B inputs	21	[0–127]	—	Defines the inputs for switch B. Note: Internal range 0 to 31. See 'inputs choices' in manual.	0-based
B outputs	22	[0–127]	—	Defines the outputs for switch B. Note: Internal range 0 to 13. See 'outputs choices' in manual.	0-based
B in control	23	[0–127]	—	Control source for input switch B. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
B in control type	24	[0–127]	—	Control source type for input switch B. Note: Internal range 0 to 9. Changes options for 'in control'.	0-based
B out control	25	[0–127]	—	Control source for output switch B. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
B out control type	26	[0–127]	—	Control source type for output switch B. Note: Internal range 0 to 9. Changes options for 'out control'.	0-based
B reset	27	[0–127]	—	Reset source for switch B. Note: Internal range 0 to 12. See 'reset sources' in manual.	0-based
B fade	28	[0–127]	—	Crossfade time for switch B. Note: Unit = ms. Internal range 0 to 1000. Time in milliseconds.	0-based
C inputs	29	[0–127]	—	Defines the inputs for switch C. Note: Internal range 0 to 31. See 'inputs choices' in manual.	0-based
C outputs	30	[0–127]	—	Defines the outputs for switch C. Note: Internal range 0 to 13. See 'outputs choices' in manual.	0-based
C in control	31	[0–127]	—	Control source for input switch C. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
C in control type	32	[0–127]	—	Control source type for input switch C. Note: Internal range 0 to 9. Changes options for 'in control'.	0-based
C out control	33	[0–127]	—	Control source for output switch C. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
C out control type	34	[0–127]	—	Control source type for output switch C. Note: Internal range 0 to 9. Changes options for 'out control'.	0-based
C reset	35	[0–127]	—	Reset source for switch C. Note: Internal range 0 to 12. See 'reset sources' in manual.	0-based
C fade	36	[0–127]	—	Crossfade time for switch C. Note: Unit = ms. Internal range 0 to 1000. Time in milliseconds.	0-based
D inputs	37	[0–127]	—	Defines the inputs for switch D. Note: Internal range 0 to 31. See 'inputs choices' in manual.	0-based
D outputs	38	[0–127]	—	Defines the outputs for switch D. Note: Internal range 0 to 13. See 'outputs choices' in manual.	0-based
D in control	39	[0–127]	—	Control source for input switch D. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
D in control type	40	[0–127]	—	Control source type for input switch D. Note: Internal range 0 to 9. Changes options for 'in control'.	0-based
D out control	41	[0–127]	—	Control source for output switch D. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
D out control type	42	[0–127]	—	Control source type for output switch D. Note: Internal range 0 to 9. Changes options for 'out control'.	0-based
D reset	43	[0–127]	—	Reset source for switch D. Note: Internal range 0 to 12. See 'reset sources' in manual.	0-based
D fade	44	[0–127]	—	Crossfade time for switch D. Note: Unit = ms. Internal range 0 to 1000. Time in milliseconds.	0-based
E inputs	45	[0–127]	—	Defines the inputs for switch E. Note: Internal range 0 to 31. See 'inputs choices' in manual.	0-based
E outputs	46	[0–127]	—	Defines the outputs for switch E. Note: Internal range 0 to 13. See 'outputs choices' in manual.	0-based
E in control	47	[0–127]	—	Control source for input switch E. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
E in control type	48	[0–127]	—	Control source type for input switch E. Note: Internal range 0 to 9. Changes options for 'in control'.	0-based
E out control	49	[0–127]	—	Control source for output switch E. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
E out control type	50	[0–127]	—	Control source type for output switch E. Note: Internal range 0 to 9. Changes options for 'out control'.	0-based
E reset	51	[0–127]	—	Reset source for switch E. Note: Internal range 0 to 12. See 'reset sources' in manual.	0-based
E fade	52	[0–127]	—	Crossfade time for switch E. Note: Unit = ms. Internal range 0 to 1000. Time in milliseconds.	0-based
F inputs	53	[0–127]	—	Defines the inputs for switch F. Note: Internal range 0 to 31. See 'inputs choices' in manual.	0-based
F outputs	54	[0–127]	—	Defines the outputs for switch F. Note: Internal range 0 to 13. See 'outputs choices' in manual.	0-based
F in control	55	[0–127]	—	Control source for input switch F. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
F in control type	56	[0–127]	—	Control source type for input switch F. Note: Internal range 0 to 9. Changes options for 'in control'.	0-based
F out control	57	[0–127]	—	Control source for output switch F. Note: Internal range 0 to 36. See 'control sources' in manual.	0-based
F out control type	58	[0–127]	—	Control source type for output switch F. Note: Internal range 0 to 9. Changes options for 'out control'.	0-based
F reset	59	[0–127]	—	Reset source for switch F. Note: Internal range 0 to 12. See 'reset sources' in manual.	0-based
F fade	60	[0–127]	—	Crossfade time for switch F. Note: Unit = ms. Internal range 0 to 1000. Time in milliseconds.	0-based

Looper

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies attenuverter to input 1. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 2	2	[0–127]	—	Applies attenuverter to input 2. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 3	3	[0–127]	—	Applies attenuverter to input 3. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 4	4	[0–127]	—	Applies attenuverter to input 4. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 5	5	[0–127]	—	Applies attenuverter to input 5. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 6	6	[0–127]	—	Applies attenuverter to input 6. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Target loop	7	[0–127]	—	Selects loops affected by commands. Note: Internal range: 1 to 15.	0-based
Record gain	8	[0–127]	—	Sets gain for loop inputs. Note: Unit = dB. Internal range: -40 to 6. Does not affect monitoring.	0-based
Loop 1 input	9	[0–127]	—	Selects input for loop 1. Note: Internal range: 0 to 6. 0 = none. Stereo uses adjacent inputs.	0-based
Loop 2 input	10	[0–127]	—	Selects input for loop 2. Note: Internal range: 0 to 6. 0 = none. Stereo uses adjacent inputs.	0-based
Loop 3 input	11	[0–127]	—	Selects input for loop 3. Note: Internal range: 0 to 6. 0 = none. Stereo uses adjacent inputs.	0-based
Loop 4 input	12	[0–127]	—	Selects input for loop 4. Note: Internal range: 0 to 6. 0 = none. Stereo uses adjacent inputs.	0-based
Loop 1 output	13	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects output for loop 1. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Loop 2 output	14	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects output for loop 2. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Loop 3 output	15	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects output for loop 3. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Loop 4 output	16	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects output for loop 4. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Loop 1 pan	17	[0–127]	—	Sets pan for loop 1. Note: Unit = %. Internal range: -100 to 100. Used if stereo output.	Centered
Loop 2 pan	18	[0–127]	—	Sets pan for loop 2. Note: Unit = %. Internal range: -100 to 100. Used if stereo output.	Centered
Loop 3 pan	19	[0–127]	—	Sets pan for loop 3. Note: Unit = %. Internal range: -100 to 100. Used if stereo output.	Centered
Loop 4 pan	20	[0–127]	—	Sets pan for loop 4. Note: Unit = %. Internal range: -100 to 100. Used if stereo output.	Centered
Loop 1 gain	21	[0–127]	—	Sets output gain for loop 1. Note: Unit = dB. Internal range: -40 to 6.	0-based
Loop 2 gain	22	[0–127]	—	Sets output gain for loop 2. Note: Unit = dB. Internal range: -40 to 6.	0-based
Loop 3 gain	23	[0–127]	—	Sets output gain for loop 3. Note: Unit = dB. Internal range: -40 to 6.	0-based
Loop 4 gain	24	[0–127]	—	Sets output gain for loop 4. Note: Unit = dB. Internal range: -40 to 6.	0-based
Loop 1 x-fade	25	[0–127]	0~127: 0.1ms to 5s (logarithmic)	Sets crossfade time for loop 1. Note: Internal range: 0 to 127. Logarithmic. Approx 0.1 ms to 5 s.	0-based
Loop 2 x-fade	26	[0–127]	0~127: 0.1ms to 5s (logarithmic)	Sets crossfade time for loop 2. Note: Internal range: 0 to 127. Logarithmic. Approx 0.1 ms to 5 s.	0-based
Loop 3 x-fade	27	[0–127]	0~127: 0.1ms to 5s (logarithmic)	Sets crossfade time for loop 3. Note: Internal range: 0 to 127. Logarithmic. Approx 0.1 ms to 5 s.	0-based
Loop 4 x-fade	28	[0–127]	0~127: 0.1ms to 5s (logarithmic)	Sets crossfade time for loop 4. Note: Internal range: 0 to 127. Logarithmic. Approx 0.1 ms to 5 s.	0-based
Loop 1 VCA	29	[0–127]	—	Selects VCA input for loop 1. Note: Internal range: 0 to 6. 0 = none. Linear VCA 5V = unity gain.	0-based
Loop 2 VCA	30	[0–127]	—	Selects VCA input for loop 2. Note: Internal range: 0 to 6. 0 = none. Linear VCA 5V = unity gain.	0-based
Loop 3 VCA	31	[0–127]	—	Selects VCA input for loop 3. Note: Internal range: 0 to 6. 0 = none. Linear VCA 5V = unity gain.	0-based
Loop 4 VCA	32	[0–127]	—	Selects VCA input for loop 4. Note: Internal range: 0 to 6. 0 = none. Linear VCA 5V = unity gain.	0-based
Monitor 1 output	33	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects monitor output for loop 1. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Monitor 2 output	34	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects monitor output for loop 2. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Monitor 3 output	35	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects monitor output for loop 3. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Monitor 4 output	36	[0–127]	1: Output 1; 2: Output 2; 3: Output 3; 4: Output 4; 5: Outputs 1+2 stereo; 6: Outputs 3+4 stereo	Selects monitor output for loop 4. Note: Internal range: 1 to 6. 5 = outputs 1+2 stereo 6 = outputs 3+4 stereo.	0-based
Monitor 1 pan	37	[0–127]	—	Sets monitor pan for loop 1. Note: Unit = %. Internal range: -100 to 100.	Centered
Monitor 2 pan	38	[0–127]	—	Sets monitor pan for loop 2. Note: Unit = %. Internal range: -100 to 100.	Centered
Monitor 3 pan	39	[0–127]	—	Sets monitor pan for loop 3. Note: Unit = %. Internal range: -100 to 100.	Centered
Monitor 4 pan	40	[0–127]	—	Sets monitor pan for loop 4. Note: Unit = %. Internal range: -100 to 100.	Centered
Monitor 1 gain	41	[0–127]	—	Sets monitor gain for loop 1. Note: Unit = dB. Internal range: -40 to 6.	0-based
Monitor 2 gain	42	[0–127]	—	Sets monitor gain for loop 2. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Monitor 3 gain	43	[0–127]	—	Sets monitor gain for loop 3. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Monitor 4 gain	44	[0–127]	—	Sets monitor gain for loop 4. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Attack time	45	[0–127]	0~127: 1ms to 30s (logarithmic)	Sets loop attack time. Note: Internal range: 0 to 127. Logarithmic. Approx 1 ms to 30 s.	0-based
Decay time	46	[0–127]	0~127: 1ms to 30s (logarithmic)	Sets loop decay time. Note: Internal range: 0 to 127. Logarithmic. Approx 1 ms to 30 s.	0-based
Overdub attack time	47	[0–127]	0~127: 1ms to 30s (logarithmic)	Sets overdub attack time. Note: Internal range: 0 to 127. Logarithmic. Approx 1 ms to 30 s.	0-based
Overdub decay time	48	[0–127]	0~127: 1ms to 30s (logarithmic)	Sets overdub decay time. Note: Internal range: 0 to 127. Logarithmic. Approx 1 ms to 30 s.	0-based
Overdub fade	49	[0–127]	—	Sets overdub fade amount. Note: Unit = 0.1 dB. Internal range: -240 to 0. -240 = -inf dB.	0-based
Pause/mute	50	[0–127]	0: Pause; 1: Mute; 2: Retrigger	Selects pause or mute behavior. Note: Internal range: 0 to 2. 0 = pause 1 = mute 2 = retrigger.	0-based
Trigger 1 output	51	[0–127]	0: None; 1~4: Output; 5~52: ES-5	Selects trigger output for loop 1. Note: Internal range: 0 to 52. 0 = none. 1–4 outputs 5–52 ES-5.	0-based
Trigger 2 output	52	[0–127]	0: None; 1~4: Output; 5~52: ES-5	Selects trigger output for loop 2. Note: Internal range: 0 to 52. 0 = none. 1–4 outputs 5–52 ES-5.	0-based
Trigger 3 output	53	[0–127]	0: None; 1~4: Output; 5~52: ES-5	Selects trigger output for loop 3. Note: Internal range: 0 to 52. 0 = none. 1–4 outputs 5–52 ES-5.	0-based
Trigger 4 output	54	[0–127]	0: None; 1~4: Output; 5~52: ES-5	Selects trigger output for loop 4. Note: Internal range: 0 to 52. 0 = none. 1–4 outputs 5–52 ES-5.	0-based
Record	55	[0–127]	—	Controls record and overdub. Note: Internal range: 0 to 1.	0-based
Play	56	[0–127]	—	Controls play and mute. Note: Internal range: -1 to 1. -1 retriggers loops.	Centered
Reverse	57	[0–127]	—	Controls reverse playback. Note: Internal range: 0 to 1.	0-based
Octave down	58	[0–127]	—	Controls octave down function. Note: Internal range: 0 to 1.	0-based
Lowpass filter	59	[0–127]	—	Sets lowpass filter cutoff. Note: Internal range: 0 to 127. 127 disables filter. Min ~200 Hz.	0-based
Bypass clock	60	[0–127]	—	Bypasses clock input behavior. Note: Internal range: 0 to 1.	0-based
Bit depth	65	[0–127]	0: 8-bit; 1: 16-bit; 2: 32-bit	Sets loop bit depth. Note: Internal range: 0 to 2.	Centered
Stereo	66	[0–127]	—	Selects stereo or mono mode. Note: Internal range: 0 to 1.	0-based
Clock input 1	67	[0–127]	0: None or MIDI clock	Selects clock input for loop 1. Note: Internal range: 0 to 24.	0-based
Clock input 2	68	[0–127]	0: None or MIDI clock	Selects clock input for loop 2. Note: Internal range: 0 to 24.	0-based
Clock input 3	69	[0–127]	0: None or MIDI clock	Selects clock input for loop 3. Note: Internal range: 0 to 24.	0-based
Clock input 4	70	[0–127]	0: None or MIDI clock	Selects clock input for loop 4. Note: Internal range: 0 to 24.	0-based
Lock range	71	[0–127]	—	Sets clock lock range. Note: Unit = ms. Internal range: 0 to 1000.	0-based
MIDI transport	72	[0–127]	—	Enables MIDI transport control. Note: Internal range: 0 to 1.	0-based

Dream Machine

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies attenuverter to input 1. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 2	2	[0–127]	—	Applies attenuverter to input 2. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 3	3	[0–127]	—	Applies attenuverter to input 3. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 4	4	[0–127]	—	Applies attenuverter to input 4. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 5	5	[0–127]	—	Applies attenuverter to input 5. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Attenuverter 6	6	[0–127]	—	Applies attenuverter to input 6. Note: Unit = %. Internal range: -200 to 200. Negative values invert CV.	0-based
Wavetable	7	[0–127]	—	Selects wavetable. Note: Internal range: 0 to 999.	0-based
Prime 1	8	[0–127]	—	Sets first prime value. Note: Internal range: 2 to 32767. May be multiplied to create the denominator and numerators of the frequency ratios	0-based
Prime 2	9	[0–127]	—	Sets second prime value. Note: Internal range: 1 to 32767. May be multiplied to create the denominator and numerators of the frequency ratios	0-based
Prime 3	10	[0–127]	—	Sets third prime value. Note: Internal range: 1 to 32767. May be multiplied to create the denominator and numerators of the frequency ratios	0-based
Prime 4	11	[0–127]	—	Sets fourth prime value. Note: Internal range: 1 to 32767. May be multiplied to create the denominator and numerators of the frequency ratios	0-based
Fundamental	12	[0–127]	—	Sets fundamental frequency. Note: Internal range: 1 to 32767. Unit = thousandths Hz.	0-based
Octave	13	[0–127]	—	Sets octave shift. Note: Internal range: -8 to 8.	0-based
Denominator	14	[0–127]	—	Sets frequency ratio denominator. Note: Internal range: 1 to 256.	0-based
Numerator 1	15	[0–127]	—	Sets numerator of the frequency ratio for tone 1. Note: Internal range: 1 to 1024.	0-based
Numerator 2	16	[0–127]	—	Sets numerator of the frequency ratio for tone 2. Note: Internal range: 1 to 1024.	0-based
Numerator 3	17	[0–127]	—	Sets numerator of the frequency ratio for tone 3. Note: Internal range: 1 to 1024.	0-based
Numerator 4	18	[0–127]	—	Sets numerator of the frequency ratio for tone 4. Note: Internal range: 1 to 1024.	0-based
Gate 0	19	[0–127]	—	Gate for fundamental tone. Note: Internal range: 0 to 1.	0-based
Gate 1	20	[0–127]	—	Gate for tone 1. Note: Internal range: 0 to 1.	0-based
Gate 2	21	[0–127]	—	Gate for tone 2. Note: Internal range: 0 to 1.	0-based
Gate 3	22	[0–127]	—	Gate for tone 3. Note: Internal range: 0 to 1.	0-based
Gate 4	23	[0–127]	—	Gate for tone 4. Note: Internal range: 0 to 1.	0-based
Gain 0	24	[0–127]	—	Sets gain for fundamental. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Gain 1	25	[0–127]	—	Sets gain for tone 1. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Gain 2	26	[0–127]	—	Sets gain for tone 2. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Gain 3	27	[0–127]	—	Sets gain for tone 3. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Gain 4	28	[0–127]	—	Sets gain for tone 4. Note: Unit = dB. Internal range: -40 to 6. -40 = -inf dB.	0-based
Pan 1	29	[0–127]	—	Sets pan for tone 1. Note: Unit = %. Internal range: -100 to 100.	Centered
Pan 2	30	[0–127]	—	Sets pan for tone 2. Note: Unit = %. Internal range: -100 to 100.	Centered
Pan 3	31	[0–127]	—	Sets pan for tone 3. Note: Unit = %. Internal range: -100 to 100.	Centered
Pan 4	32	[0–127]	—	Sets pan for tone 4. Note: Unit = %. Internal range: -100 to 100.	Centered
Wave input	33	[0–127]	—	Selects wavetable position input. Note: Internal range: 0 to 6. 0 = none.	0-based
Wave offset	34	[0–127]	—	Offsets wavetable position. Note: Internal range: -100 to 100.	Centered
Attack time	35	[0–127]	—	Sets envelope attack time. Note: Internal range: 0 to 127.	0-based
Decay time	36	[0–127]	—	Sets envelope decay time. Note: Internal range: 0 to 127.	0-based
FM input 1	37	[0–127]	—	Selects FM input for tone 1. Note: Internal range: 0 to 6. 0 = none. The inputs are scaled according to the FM Range parameter.	0-based
FM input 2	38	[0–127]	—	Selects FM input for tone 2. Note: Internal range: 0 to 6. 0 = none. The inputs are scaled according to the FM Range parameter.	0-based
FM input 3	39	[0–127]	—	Selects FM input for tone 3. Note: Internal range: 0 to 6. 0 = none. The inputs are scaled according to the FM Range parameter.	0-based
FM input 4	40	[0–127]	—	Selects FM input for tone 4. Note: Internal range: 0 to 6. 0 = none. The inputs are scaled according to the FM Range parameter.	0-based
Waveform 0	41	[0–127]	—	Selects waveform for fundamental. Note: Internal range: 0 to 3. Wavetable sine triangle square.	0-based
FM range	42	[0–127]	0: 1Hz/V; 1: 10Hz/V; 2: 100Hz/V; 3: 1kHz/V	Sets FM input scaling. Note: Internal range: 0 to 3. 1Hz/V 10Hz/V 100Hz/V 1kHz/V.	0-based
Frequency slew	43	[0–127]	—	Sets frequency slew rate. Note: Internal range: 0 to 127.	0-based
Crossfade time	44	[0–127]	—	Sets frequency crossfade time. Note: Internal range: 0 to 127. For any change in voice frequency	0-based
Reverb mix	45	[0–127]	—	Sets reverb wet/dry mix. Note: Unit = %. Internal range: 0 to 100.	0-based
Reverb time	46	[0–127]	—	Sets reverb time. Note: Unit = ms. Internal range: 400 to 30000.	0-based
Reverb model	47	[0–127]	—	Selects reverb model. Note: Internal range: 0 to 3.	0-based
Reverb size	48	[0–127]	—	Sets reverb size. Note: Unit = %. Internal range: 1 to 100. Mainly affects the times of the early reflections.	0-based
Reverb high damp	49	[0–127]	—	Sets high frequency damping. Note: Internal range: 0 to 100.	0-based
Reverb mod speed	50	[0–127]	—	Sets reverb modulation speed. Note: Unit = 0.01 Hz. Internal range: 1 to 500.	Centered
Reverb mod depth	51	[0–127]	—	Sets reverb modulation depth. Note: Internal range: 0 to 100.	0-based
Reverb early gain	52	[0–127]	—	Sets early reflection gain. Note: Unit = dB. Internal range: -40 to 6.	0-based
Reverb diff gain	53	[0–127]	—	Sets diffuse reflection gain. Note: Unit = dB. Internal range: -40 to 6.	0-based
Transpose	54	[0–127]	—	Adjusts the tuning of all frequencies in (12-TET) semitone steps. Note: Internal range: -60 to 60 semitones.	Centered

Filter Bank

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Applies Attenuverter for input 1. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 2	2	[0–127]	—	Applies Attenuverter for input 2. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 3	3	[0–127]	—	Applies Attenuverter for input 3. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 4	4	[0–127]	—	Applies Attenuverter for input 4. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 5	5	[0–127]	—	Applies Attenuverter for input 5. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 6	6	[0–127]	—	Applies Attenuverter for input 6. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Mode	7	[0–127]	—	Filter mode. Note: Resonator Bandpass or Multiband. Internal range: 0 to 2.	0-based
Gain/Q	8	[0–127]	—	Sets filter gain (for Resonators) or resonance (for bandpass/multiband). Note: Unit = %. Internal range: 1 to 100.	Centered
Dry gain	9	[0–127]	—	Amount of dry signal to mix into the outputs. Note: -40' = –∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Effect gain	10	[0–127]	—	Amount of the Effect (filtered) signal to mix into the outputs. Note: -40' = –∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Attack time	11	[0–127]	—	Envelope attack time. Note: Internal range: 0 to 127.	0-based
Decay time	12	[0–127]	—	Envelope decay time. Note: Internal range: 0 to 127.	0-based
Pitch 1	13	[0–127]	—	Pitch/Frequency of filter 1. Note: Internal range: 0 to 127.	0-based
Pitch 2	14	[0–127]	—	Pitch/Frequency of filter 2. Note: Internal range: 0 to 127.	0-based
Pitch 3	15	[0–127]	—	Pitch/Frequency of filter 3. Note: Internal range: 0 to 127.	0-based
Pitch 4	16	[0–127]	—	Pitch/Frequency of filter 4. Note: Internal range: 0 to 127.	0-based
Pitch 5	17	[0–127]	—	Pitch/Frequency of filter 5. Note: Internal range: 0 to 127.	0-based
Pitch 6	18	[0–127]	—	Pitch/Frequency of filter 6. Note: Internal range: 0 to 127.	0-based
Pitch 7	19	[0–127]	—	Pitch/Frequency of filter 7. Note: Internal range: 0 to 127.	0-based
Pitch 8	20	[0–127]	—	Pitch/Frequency of filter 8. Note: Internal range: 0 to 127.	0-based
Gate 1	21	[0–127]	—	Gate for filter 1. Note: Internal range: 0 to 1.	0-based
Gate 2	22	[0–127]	—	Gate for filter 2. Note: Internal range: 0 to 1.	0-based
Gate 3	23	[0–127]	—	Gate for filter 3. Note: Internal range: 0 to 1.	0-based
Gate 4	24	[0–127]	—	Gate for filter 4. Note: Internal range: 0 to 1.	0-based
Gate 5	25	[0–127]	—	Gate for filter 5. Note: Internal range: 0 to 1.	0-based
Gate 6	26	[0–127]	—	Gate for filter 6. Note: Internal range: 0 to 1.	0-based
Gate 7	27	[0–127]	—	Gate for filter 7. Note: Internal range: 0 to 1.	0-based
Gate 8	28	[0–127]	—	Gate for filter 8. Note: Internal range: 0 to 1.	0-based
Gain 1	29	[0–127]	—	Gain for filter 1. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 2	30	[0–127]	—	Gain for filter 2. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 3	31	[0–127]	—	Gain for filter 3. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 4	32	[0–127]	—	Gain for filter 4. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 5	33	[0–127]	—	Gain for filter 5. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 6	34	[0–127]	—	Gain for filter 6. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 7	35	[0–127]	—	Gain for filter 7. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
Gain 8	36	[0–127]	—	Gain for filter 8. Note: '-40' = -∞dB. Unit = dB. Internal range: -40 to 6.	0-based
VCA input 1	37	[0–127]	—	VCA input for filter 1. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 2	38	[0–127]	—	VCA input for filter 2. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 3	39	[0–127]	—	VCA input for filter 3. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 4	40	[0–127]	—	VCA input for filter 4. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 5	41	[0–127]	—	VCA input for filter 5. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 6	42	[0–127]	—	VCA input for filter 6. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 7	43	[0–127]	—	VCA input for filter 7. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
VCA input 8	44	[0–127]	—	VCA input for filter 8. Note: 0 for 'None'. Internal range: 0 to 6.	0-based
Spread	45	[0–127]	—	Amount by which to spread out the filters in the stereo field. Note: Unit = %. Internal range: -100 to 100.	Centered
LFO depth	46	[0–127]	—	Depth of an octave LFO modulation of the filter gains. Note: Unit = %. Internal range: 0 to 100.	0-based
LFO rate	47	[0–127]	—	LFO rate. Note: Internal range: -100 to 100.	0-based
CV/Gate control	48	[0–127]	0: Off; 1: On; 2: Quantized	Sets whether inputs 3 & 4 are used as a CV/gate pair to 'play' the filters as pitched voices. Note: Off On (filter pitch follows the CV) or Quantized (filter pitch set to the nearest semitone). Internal range: 0 to 2.	0-based
Controlled voices	49	[0–127]	—	Number of filters that will be controlled by MIDI or CV/gate. Note: Internal range: 1 to 8.	0-based
Mono input	50	[0–127]	0: Input 1+2 used for audio input; 1: Input 1 used for audio input	Mono input mode. Note: 1: only input 1 is used for audio input. Input 2 is freed up for CV mapping. Internal range: 0 to 1.	0-based
MIDI vel curve	51	[0–127]	—	Selects a velocity curve applied to incoming MIDI notes. Note: Internal range: 0 to 3.	0-based

Poly Wavetable

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1	1	[0–127]	—	Attenuverter for input 1. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 2	2	[0–127]	—	Attenuverter for input 2. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 3	3	[0–127]	—	Attenuverter for input 3. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 4	4	[0–127]	—	Attenuverter for input 4. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 5	5	[0–127]	—	Attenuverter for input 5. Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Attenuverter 6	6	[0–127]	—	Attenuverter for input 6 Note: Negative value = CV will be inverted. Unit = %. Internal range: -200 to 200.	0-based
Wavetable	7	[0–127]	—	Chooses the wavetable from those installed on the MicroSD card. Note: Internal range: 0 to 999.	0-based
Wave offset	8	[0–127]	—	An offset for the wavetable position. added to that set from the wave input. Note: Internal range: -100 to 100.	Centered
Wave spread	9	[0–127]	—	An amount by which to spread out the per-voice wavetable positions. Note: Internal range: -100 to 100.	Centered
Coarse tune	10	[0–127]	—	Transposes the whole instrument in semitones. Note: Internal range: -60 to 60.	Centered
Fine tune	11	[0–127]	—	Tunes the whole instrument in cents. Note: Unit = cents. Internal range: -100 to 100.	Centered
Attack time	12	[0–127]	—	Envelope 1 attack time. Note: Range 1ms-15s. Internal range: 0 to 127.	0-based
Decay time	13	[0–127]	—	Envelope 1 decay time. Note: Range 20ms-15s. Internal range: 0 to 127.	0-based
Sustain level	14	[0–127]	—	Envelope 1 sustain level. Note: Internal range: 0 to 127.	0-based
Release time	15	[0–127]	—	Envelope 1 release time. Note: Range 10ms-30s. Internal range: 0 to 127.	0-based
Attack shape	16	[0–127]	—	Envelope 1 attack shape. Note: '0' is highly exponential. '127' is almost linear. Internal range: 0 to 127.	Centered
Decay shape	17	[0–127]	—	Envelope 1 decay & release shape. Note: Internal range: 0 to 127.	Centered
Attack time 2	18	[0–127]	0~127: 1ms to 15s	Envelope 2 attack time. Note: Range 1ms-15s. Internal range: 0 to 127.	0-based
Decay time 2	19	[0–127]	0~127: 20ms to 15s	Envelope 2 decay time. Note: Range 20ms-15s. Internal range: 0 to 127.	0-based
Sustain level 2	20	[0–127]	—	Envelope 2 sustain level. Note: Note that this can go negative. Internal range: -127 to 127.	Centered
Release time 2	21	[0–127]	0~127: 10ms to 30s	Envelope 2 release time. Note: Range 10ms-30s. Internal range: 0 to 127.	0-based
Attack shape 2	22	[0–127]	—	Envelope 2 attack shape. Note: Internal range: 0 to 127.	Centered
Decay shape 2	23	[0–127]	—	Envelope 2 decay & release shape. Note: Internal range: 0 to 127.	Centered
Filter type	24	[0–127]	0: Off; 1: Lowpass; 2: Bandpas; 3: Highpass	The filter type. Note: Options: 'Off'. 'Lowpass'. 'Bandpass' or 'Highpass'. Internal range: 0 to 3.	0-based
Filter freq	25	[0–127]	—	The filter frequency. specified as a MIDI note number. Note: Internal range: 0 to 127.	Centered
Filter Q	26	[0–127]	—	The filter resonance. Note: Internal range: 0 to 100.	Centered
Veloc -> volume	27	[0–127]	—	The amount by which the note velocity affects the note volume. Note: Unit = %. Internal range: 0 to 100.	0-based
Veloc -> wave	28	[0–127]	—	The amount by which the note velocity affects the wavetable position. Note: Unit = %. Internal range: -100 to 100.	Centered
Veloc -> filter	29	[0–127]	—	The amount by which the note velocity affects the filter frequency. Note: Internal range: -127 to 127.	Centered
Pitch -> wave	30	[0–127]	—	The amount by which the note pitch affects the wavetable position. Note: Unit = %. Internal range: -100 to 100.	Centered
Pitch -> filter	31	[0–127]	—	The amount by which the note pitch affects the filter frequency. Note: Unit = %. Internal range: -100 to 100.	Centered
Env -> wave	32	[0–127]	—	The amount by which envelope 1 affects the wavetable position. Note: Unit = %. Internal range: -100 to 100.	Centered
Env -> filter	33	[0–127]	—	The amount by which envelope 1 affects the filter frequency. Note: Internal range: -127 to 127.	Centered
Env 2 -> wave	34	[0–127]	—	The amount by which envelope 2 affects the wavetable position. Note: Unit = %. Internal range: -100 to 100.	Centered
Env 2 -> filter	35	[0–127]	—	The amount by which envelope 2 affects the filter frequency. Note: Internal range: -127 to 127.	Centered
Env 2 -> pitch	36	[0–127]	—	The amount by which envelope 2 affects the note pitch. Note: Internal range: -120 to 120.	Centered
LFO -> wave	37	[0–127]	—	The amount by which the LFO affects the wavetable position. Note: Unit = %. Internal range: -100 to 100.	Centered
LFO -> filter	38	[0–127]	—	The amount by which the LFO affects the filter frequency. Note: Internal range: -127 to 127.	Centered
LFO -> pitch	39	[0–127]	—	The amount by which the LFO affects the note pitch. Note: Internal range: -120 to 120.	Centered
LFO speed	40	[0–127]	0~127: 0.01Hz to 10Hz	The LFO speed. Note: Range 0.01Hz-10Hz. Internal range: -100 to 100.	0-based
Gain	41	[0–127]	0~90: -40 to <0dB; 91: 0dB; 92~127: >0dB to 24dB	Applies an overall output gain. Note: Unit = dB. Internal range: -40 to 24.	0-based
Sustain	42	[0–127]	—	Activates sustain. Note: Notes remain playing when the gate goes low. Internal range: 0 to 1.	0-based
Bend range	43	[0–127]	—	The pitch bend range in semitones. Note: Applies both to MIDI pitch bend and to CV pitch bend. In which case a CV of ±5V maps to the chosen bend range. Internal range: 0 to 48.	0-based
Chord enable	44	[0–127]	—	Enables the chord generator function. Note: The chord generator can be on or off globally or per gate. MIDI/I2C counts as gate 3. Internal range: 0 to 7.	0-based
Chord key	45	[0–127]	—	The key of the chord generator. Note: 0 is C. '1' is C#/Db etc. Internal range: -12 to 12.	Centered
Chord scale	46	[0–127]	—	The scale of the chord generator. Note: See the manual for the options. Internal range: 0 to 7.	0-based
Chord shape	47	[0–127]	—	The shape of the chord generator. Note: See the manual for the options. Internal range: 0 to 13.	0-based
Chord inversion	48	[0–127]	—	The chord inversion. Note: For example the first inversion takes the first note of the chord and moves it an octave up. So the lowest note in the chord is now the second. E.g. C E G becomes E G C. Internal range: 0 to 3.	0-based
Arpeggio 1 mode	49	[0–127]	—	The arpeggiator mode for CV/gate input 1. Note: See the manual for the options. Internal range: 0 to 14.	0-based
Arpeggio 2 mode	50	[0–127]	—	The arpeggiator mode for CV/gate input 2. Note: See the manual for the options. Internal range: 0 to 14.	0-based
Arpeggio 3 mode	51	[0–127]	—	The arpeggiator mode for CV/gate input 3. Note: See the manual for the options. Internal range: 0 to 14.	0-based
Arpeggio 1 range	52	[0–127]	—	Arpeggio range for input 1. Note: 1: The arpeggio is simply the notes formed by the chord. 2 or 3: a copy of the chord is appended to the pattern. One or two octaves higher. Internal range: 1 to 3.	0-based
Arpeggio 2 range	53	[0–127]	—	Arpeggio range for input 2. Note: 1: The arpeggio is simply the notes formed by the chord. 2 or 3: a copy of the chord is appended to the pattern. One or two octaves higher. Internal range: 1 to 3.	0-based
Arpeggio 3 range	54	[0–127]	—	Arpeggio range for input 3. Note: 1: The arpeggio is simply the notes formed by the chord. 2 or 3: a copy of the chord is appended to the pattern. One or two octaves higher. Internal range: 1 to 3.	0-based
Scala/MTS	55	[0–127]	—	Sets the Scala scale or MTS tuning to use. Note: See the manual. Internal range: 0 to 127.	0-based
Scala KBM	56	[0–127]	—	Sets the Scala keyboard map to use. Note: See the manual. Internal range: 0 to 127.	0-based
Chorus mode	57	[0–127]	—	Engages the chorus effect. Note: 0 for 'off'. Internal range: 0 to 2.	0-based
Delay mode	58	[0–127]	0: Off; 1: Stereo; 2: Ping-pong	The type of delay effect.	0-based
Delay level	59	[0–127]	—	The level of the delay effect. Note: '-40' is treated as –∞dB. Unit = dB. Internal range: -40 to 0.	0-based
Delay time	60	[0–127]	—	The delay time in milliseconds. Note: The delay time if following MIDI clock. Internal range: 1 to 10000 or 1 to 18.	0-based
Delay feedback	61	[0–127]	—	The delay feedback. Note: Unit = %. Internal range: 0 to 100.	Centered
Unison	62	[0–127]	—	The number of voices to play simultaneously. Note: For each note triggered. Internal range: 1 to 8.	0-based
Unison detune	63	[0–127]	—	The detune amount when Unison is active. Note: Unit = cents. Internal range: 0 to 100.	0-based
Output spread	64	[0–127]	—	The amount of output spread. Note: If the selected output mode uses spread. Unit = %. Internal range: -100 to 100.	Centered
Output mode	65	[0–127]	—	The output mode. Note: See the manual for details. Internal range: 0 to 3.	0-based
Input mode	66	[0–127]	—	Sets how the inputs are used for CV/gate control. Note: See the manual. Internal range: 0 to 18.	0-based
Sustain mode	67	[0–127]	0: Synth; 1: Piano	Sets the behaviour of the sustain function. Note: The options are 'Synth' and 'Piano'. Internal range: 0 to 1.	0-based
MIDI vel curve	68	[0–127]	—	Selects a velocity curve applied to incoming MIDI notes. Note: Internal range: 0 to 3.	0-based
Wave input	69	[0–127]	—	Which input to use to control the position in the wavetable or '0' for 'None'. Note: Internal range: 0 to 6.	0-based
Pitch bend input	70	[0–127]	—	The pitch bend input or '0' for none. Note: Internal range: 0 to 6.	0-based
Arp reset input	71	[0–127]	—	The input to use as the arpeggiator reset or '0' for none. Note: A trigger pulse into this input will reset the arpeggiator back to step 1. Internal range: 0 to 6.	0-based
Max voices	72	[0–127]	—	Sets the maximum number of simultaneous voices. Note: Internal range: 1 to 8.	0-based
LFO retrigger	73	[0–127]	0: Poly; 1: Mono; 2: Off	Sets whether the LFOs are retriggered at note on. Note: The options are 'Poly'. 'Mono' or 'Off'. Internal range: 0 to 2.	0-based
LFO spread	74	[0–127]	—	Sets the phase to which LFOs are retriggered. Note: The value in degrees is multiplied by the voice number to give the initial LFO phase. Retrigger off: this sets the phase relationship between the free-running LFOs. Internal range: 0 to 90.	0-based
Gate offset	75	[0–127]	—	Offsets delays the gate inputs relative to the pitch inputs. Note: For pitch CVs to settle before they are sampled on the rising gate or to cope with modules which output pitch/gate but change their gate first. Internal range: 0 to 496.	0-based
Trigger mode	76	[0–127]	—	Sets the note triggering mode. Note: See the manual. Internal range: 0 to 2.	0-based
Break time	77	[0–127]	0~127: 0ms to 1000ms	The 'break' time for chords or '0' for off. Note: See the manual. Unit = ms. Internal range: 0 to 1000.	0-based
Break direction	78	[0–127]	—	The 'break' direction. Note: See the manual. Internal range: 0 to 2.	0-based

Granulator

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1 (%)	1	[0–127]	—	Attenuverter for input 1 Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 2 (%)	2	[0–127]	—	Attenuverter for input 2 Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 3 (%)	3	[0–127]	—	Attenuverter for input 3 Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 4 (%)	4	[0–127]	—	Attenuverter for input 4 Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 5 (%)	5	[0–127]	—	Attenuverter for input 5 Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 6 (%)	6	[0–127]	—	Attenuverter for input 6 Note: Unit = %. Internal range: -200 to 200. Negative values invert CV	0-based
Buffer size (ms)	7	[0–127]	—	The audio buffer size in milliseconds. Note: Internal range: 100 to 31.250	0-based
Input gain (dB)	8	[0–127]	—	Gain applied to the audio being recorded Note: Internal range: -34 to 12. Does not affect the dry signal. '-34' is treated as -∞ dB	0-based
Dry gain (dB)	9	[0–127]	—	Level of the input signal in the output mix Note: Internal range: -40 to 6. '-40' is treated as -∞ dB	0-based
Granulator gain (dB)	10	[0–127]	—	Level of the granulator signal in the output mix Note: Internal range: -40 to 6. '-40' is treated as -∞ dB	0-based
Record	11	[0–127]	0: Recording disabled; 1: Recording enabled	Enables recording into the buffer.	0-based
Spawn mode	12	[0–127]	0: Stochastic; 1: Mid-grain; 2: Stochastic (fixed); 3: Mid-grain (fixed); 4: single	How grains are spawned	0-based
Rate mean (ms)	13	[0–127]	—	Average time between new grains being spawned Note: Internal range: 1 to 1000	0-based
Rate spread (%)	14	[0–127]	—	Amount of variation in the spawn rate expressed as a percentage of 'Rate mean' Note: Internal range: 0 to 200	0-based
Size mean (ms)	15	[0–127]	—	Average grain size Note: Internal range: 0 to 1000; if the 'Size mean' parameter is set to zero the grain size is calculated from the note pitch and set to be the duration of one cycle of an oscillation that corresponds to the given pitch	0-based
Size spread (%)	16	[0–127]	—	Amount of variation in grain size expressed as a percentage of 'Size mean' Note: Internal range: 0 to 200	0-based
Pitch mean (ST)	17	[0–127]	—	Average grain pitch shift (in semitones) Note: Internal range: -24 to 24; this is added to the pitch shift determined by the note's pitch CV	Centered
Pitch spread (cents)	18	[0–127]	—	Amount of variation in grain pitch shift Note: Internal range: 0 to 1200	0-based
Pan mean (%)	19	[0–127]	—	Average grain pan position Note: Internal range: -100 to 100	Centered
Pan spread (%)	20	[0–127]	—	Amount of variation in grain pan Note: Internal range: 0 to 100	0-based
Delay mean (%)	21	[0–127]	—	Average grain delay (equivalently the position in the audio buffer) Note: Internal range: 0 to 100; expressed as a percentage of the buffer size	Centered
Delay spread (%)	22	[0–127]	—	Amount of variation in grain delay Note: Internal range: 0 to 100; expressed as a percentage of the buffer size	0-based
Shape	23	[0–127]	0: Gaussian; 1: Tukey; 2: Triangle; 3: Expodec; 4: Rexpodec; 5: Equal power	Grain envelope/window shape Note: Internal range: 0 to 5	0-based
Opacity (%)	24	[0–127]	—	Opacity' of a note which is the percentage of grains that would normally make up the note that actually sound Note: Internal range: 0 to 100	0-based
LFO depth (%)	25	[0–127]	—	Depth of the LFO that affects the grain delay expressed as a percentage of the buffer size Note: Internal range: -100 to 100	Centered
LFO speed	26	[0–127]	—	Speed of the grain delay LFO Note: Internal range: 0 to 255; this is scaled relative to the buffer size - at the default value of 196 the LFO will cause the 'play head' (to use a tape metaphor) to advance at 1x speed.	0-based
Input feedback (%)	27	[0–127]	—	Amount of feedback to apply around the audio buffer itself when recording Note: Internal range: 0 to 100; resulting in an echo effect on the input material with a delay time equal to the buffer size	0-based
Main feedback (%)	28	[0–127]	—	Amount of the granulator output to feed back into the audio buffer when recording Note: Internal range: 0 to 100	0-based
Attack time	29	[0–127]	—	Envelope attack time Note: Internal Range 100ms-30s	Centered
Release time	30	[0–127]	—	Envelope release time Note: Internal Range 100ms-30s	Centered
Env -> opacity (%)	31	[0–127]	—	Amount by which the note envelope affects the note opacity Note: Internal range: 0 to 100	0-based
Env -> level (%)	32	[0–127]	—	Amount by which the note envelope affects the note level (volume) Note: Internal range: 0 to 100	0-based
Veloc -> level (%)	33	[0–127]	—	Amount by which the note velocity affects the note level (volume) Note: Internal range: 0 to 100	0-based
Veloc -> delay (%)	34	[0–127]	—	Amount by which the note velocity affects the grain delay Note: Internal range: -100 to 100	Centered
Pitch -> pitch (%)	35	[0–127]	—	Amount by which the note pitch affects the grain pitch Note: Internal range: -100 to 100; Commonly this will either be 100% (normal pitch tracking) or 0% (the incoming pitch doesn't affect the grain pitch at all but may still affect e.g. The grain delay).	0-based
Pitch -> delay (%)	36	[0–127]	—	Amount by which the note pitch affects the grain delay Note: Internal range: -100 to 100	Centered
Normalize	37	[0–127]	—	Lowers the overall volume of the grain cloud Note: If enabled the overall volume of the grain cloud is lowered according to how many grains are active	0-based
Natural pitch (ST)	38	[0–127]	—	Sets the MIDI note number that will play back the audio Note: Internal range: 0 to 127; Sets the natural pitch of the audio i.e. The MIDI note number that will play back the audio at the same pitch at which it was recorded	0-based
Drone 1 pitch (ST)	39	[0–127]	—	MIDI note number for drone 1 Note: Internal range: 0 to 127	0-based
Drone 2 pitch (ST)	40	[0–127]	—	MIDI note number for drone 2 Note: Internal range: 0 to 127	0-based
Drone 3 pitch (ST)	41	[0–127]	—	MIDI note number for drone 3 Note: Internal range: 0 to 127	0-based
Drone 1 enable	42	[0–127]	0: Off; 1: On	Enables (gates) for drone1	0-based
Drone 2 enable	43	[0–127]	0: Off; 1: On	Enables (gates) for drone2	0-based
Drone 3 enable	44	[0–127]	0: Off; 1: On	Enables (gates) for drone3	0-based
Drone 1 opacity (%)	45	[0–127]	—	Opacity of drone1 Note: Internal range: 0 to 100	0-based
Drone 2 opacity (%)	46	[0–127]	—	Opacity of drone2 Note: Internal range: 0 to 100	0-based
Drone 3 opacity (%)	47	[0–127]	—	Opacity of drone3 Note: Internal range: 0 to 100	0-based
Drone 1 level (dB)	48	[0–127]	—	Level (volume) of drone1 Note: Internal range: -40 to 6	0-based
Drone 2 level (dB)	49	[0–127]	—	Level (volume) of drone2 Note: Internal range: -40 to 6	0-based
Drone 3 level (dB)	50	[0–127]	—	Level (volume) of drone3 Note: Internal range: -40 to 6	0-based
Out delay mode	51	[0–127]	0: Off; 1: Stereo; 2: Ping-pong	Type of the output delay effect	0-based
Out delay level (dB)	52	[0–127]	—	Level of the output delay effect Note: Internal range: -40 to 0'; -40 is treated as - ∞ dB	0-based
Out delay time (ms)	53	[0–127]	—	Output delay time Note: Internal range: 1 ms to 2730 ms	0-based
Out delay feedback (%)	54	[0–127]	—	Output delay feedback Note: Internal range: 0 to 100	Centered
Reverb mix (%)	55	[0–127]	—	Wet/dry control for the reverb effect Note: Internal range: 0 to 100	Centered
Reverb time (ms)	56	[0–127]	—	Reverb time Note: Internal range: 400 ms to 30 sec	0-based
Grain limit	57	[0–127]	—	Imposes an arbitrary limit on the number of simultaneous grains Note: Internal range: 1 to 40	0-based
Bend range (ST)	58	[0–127]	—	MIDI pitch bend range Note: Internal range: 0 to 48	0-based
Reverse (%)	59	[0–127]	—	Sets the probability that a grain will be played backwards Note: Internal range: 0 to 100	0-based
Pitch quantize	60	[0–127]	0: Off; 1: Octaves; 2: Fourths; 3: Fifths; 4: Major Triad; 5: Minor Triad	If set quantizes the random pitch deviation to musical intervals Note: Pitch deviation = the sum of the 'Pitch mean' and 'Pitch spread'	0-based
LFO shape	61	[0–127]	0: Triangle; 1: Ramp up; 2: Ramp down	Sets the LFO shape	0-based
Record fade (ms)	62	[0–127]	—	Duration of the fade applied when starting and stopping recording to avoid clicks Note: Internal range: 0 to 1000	0-based
Input mode	65	[0–127]	0: No CV/Gate; 1: uses inputs 2/4; 2: adds inputs 1/3; 3: adds inputs 5/6	Sets how many input CV/gate pairs the algorithm uses	0-based
Mono input	66	[0–127]	0: Inputs 5 & 6 are used as a stereo input; 1: only input 5 is used as a mono input (leaving input 6 free for parameter mapping)	Sets input 5 as a mono input if enabled	0-based
Sustain mode	67	[0–127]	0: Synth (sustained notes cannot be retriggered); 1: Piano (sustained notes can be retriggered)	Sets the retrigger behaviour of sustained notes	0-based
Delay mean input	68	[0–127]	0: None; 1: input1; 2: input2; 3: input3; 4: input4; 5: input5; 6: input6; 7: 1 sampled; 8: 2 sampled; 9: 3 sampled; 10: 4 sampled; 11: 5 sampled; 12: 6 sampled	CV input to use to control the grain delay Note: A CV of 5V corresponds to 100% of the buffer size. Each input choice has a 'sampled' version which indicates that the CV is sampled only at note on rather than being updated for each grain.	0-based
Effects routing	69	[0–127]	0: Delay->Reverb->Mix; 1: Delay->Mix->Reverb; 2: Mix->Delay->Reverb	Controls where the effects and dry/wet mix appear in the signal chain	0-based
Reverb model	70	[0–127]	0: Hall; 1: Hall 2; 2: Room; 3: Plate	Chooses the reverb model	0-based
Reverb size (%)	71	[0–127]	—	Sets the size of the reverb space Note: Internal range: 1 to 100; mainly affects the times of the early reflections	0-based
Reverb high damp (%)	72	[0–127]	—	Sets the amount of high frequency damping in the reverb tail Note: Internal range: 0 to 100	0-based
Reverb mod speed (Hz)	73	[0–127]	—	Sets the speed of reverb modulation Note: Internal range: 1 to 500; Unit: 0.01 Hz	Centered
Reverb mod depth (%)	74	[0–127]	—	Sets the depth of reverb modulation Note: Internal range: 0 to 100	0-based
Reverb early gain (dB)	75	[0–127]	—	Sets the output level of the early reflections Note: Internal range: -40 to 6	Centered
Reverb diff gain (dB)	76	[0–127]	—	Sets the output level of the diffuse reflections Note: Internal range: -40 to 6	0-based
Delay unit	77	[0–127]	0: Percentage; 1: Milliseconds	Determines whether the Delay mean and spread parameters work in terms of % or ms.	0-based

Multi FX

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1 (%)	1	[0–127]	—	Attenuverter for input 1 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 2 (%)	2	[0–127]	—	Attenuverter for input 2 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 3 (%)	3	[0–127]	—	Attenuverter for input 3 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 4 (%)	4	[0–127]	—	Attenuverter for input 4 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 5 (%)	5	[0–127]	—	Attenuverter for input 5 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 6 (%)	6	[0–127]	—	Attenuverter for input 6 Note: Internal range: -200 to 200. Negative values invert CV	0-based
VSR (ST)	7	[0–127]	—	Sets the variable sample rate in semitones Note: Note that the rate can only go downwards - positive values here will only have an effect if a negative CV is being applied	Centered
VSR attenuator (%)	8	[0–127]	—	Attenuator for the VSR CV input Note: You may need both this and the relevant attenuverter above to scale down a full-range LFO to a subtle pitch modulation	0-based
Quantize	9	[0–127]	0: Off; 1: On	Sets the scale to quantize the VSR to	0-based
Dry routing	10	[0–127]	0: Pre-EQ; 1: Post-EQ	Sets the dry routing to Pre-EQ or Post-EQ	0-based
Dry gain (dB)	11	[0–127]	—	Level of the dry signal mixed into the output Note: Internal range: -40 to 6	0-based
Effects gain (dB)	12	[0–127]	—	Overall level of the combined effects signals mixed into the output Note: Internal range: -40 to 6	0-based
Pitch gain (dB)	13	[0–127]	—	Level of the pitch effect mixed into the output Note: Internal range: -40 to 6	0-based
Delay gain (dB)	14	[0–127]	—	Level of the delay effect mixed into the output Note: Internal range: -40 to 6	0-based
Reverb gain (dB)	15	[0–127]	—	Level of the reverb mixed into the output Note: Internal range: -40 to 6	0-based
Saturation	16	[0–127]	0: Off; 1: On	Enables saturation on the mix output	0-based
EQ 1 type	17	[0–127]	0: 6dB/Octave; 1: 12 dB/Octave; 2: Low shelving EQ	Type of EQ band 1	0-based
EQ 1 frequency	18	[0–127]	—	Frequency of EQ band 1 Note: Internal range: 30 Hz to 12000 Hz	0-based
EQ 1 gain (0.1dB)	19	[0–127]	—	Gain of EQ band 1 only if type is 'Shelving' Note: Internal range: -12 dB to 12 dB	Centered
EQ 2 frequency	20	[0–127]	—	Frequency of EQ band 2 Note: Internal range: 30 Hz to 12000 Hz	0-based
EQ 2 Q	21	[0–127]	—	Q resonance of EQ band 2 Note: Internal range: 0.1 to 18	Centered
EQ 2 gain (0.1dB)	22	[0–127]	—	Gain of EQ band 2 Note: Internal range: -12 dB to 12 dB	Centered
EQ 3 type	23	[0–127]	0: 6dB/Octave; 1: 12 dB/Octave; 2: High shelving EQ	Type of EQ band 3	0-based
EQ 3 frequency	24	[0–127]	—	Frequency of EQ band 3 Note: Internal range: 30 Hz to 12000 Hz	0-based
EQ 3 gain (0.1dB)	25	[0–127]	—	Gain of EQ band 3 only if type is 'Shelving' Note: Internal range: -12 dB to 12 dB	Centered
Pitch input 1	26	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses one input to the pitch effect for Pitch - Chorus	0-based
Pitch input 2	27	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses the other input to the pitch effect for Pitch - Chorus	Centered
Pitch input mix (%)	28	[0–127]	—	Sets the mix between pitch effect inputs Reverb <-> Post-EQ Note: -100 is all input 1 100 is all input 2	0-based
Pitch effect	29	[0–127]	0: Chorus; 1: Phaser; 2:Shift	Chooses the pitch effect chorus phaser or pitch shift	0-based
Pitch blend (%)	30	[0–127]	—	Sets the mix at the pitch effect output between the input signal and the processed signal Note: Negative values crossfade between the input and processed signals; positive values add an amount of the processed signal to the input signal	0-based
Pitch feedback (%)	31	[0–127]	—	Internal feedback of the pitch effect Note: Applies to all three effect modes though the effect is different for each	Centered
Chorus delay / Phaser centre (0.1ms)	32	[0–127]	—	Delay time of the chorus effect OR the centre frequency of the phaser effect Note: Internal range: 0.1 ms to 85 ms	0-based
Chorus speed / Phaser speed (Hz)	33	[0–127]	—	LFO speed of the chorus or phaser effect Note: Internal range: 0.01 Hz to 2 Hz	0-based
Chorus depth / Phaser depth (%)	34	[0–127]	—	LFO depth of the chorus or phaser effect Note: Internal range: 0 to 100	0-based
Chorus spread / Phaser spread	35	[0–127]	—	Stereo spread of the chorus or phaser effect in degrees Note: Internal range: 0 to 360 degrees	Centered
Pitch shift delay (ms)	36	[0–127]	—	Delay time used by the pitch shifter effect Note: Internal range: 1 to 200 ms	0-based
Pitch shift (ST)	37	[0–127]	—	Amount of pitch shifting in semitones Note: Internal range: -48 to 48	Centered
Pitch shift fine (cents)	38	[0–127]	—	Amount of pitch shifting in cents Note: Internal range: -100 to 100	Centered
Delay input 1	39	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses one input to the delay effect	0-based
Delay input 2	40	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses the other input to the delay effect	Centered
Delay input mix (%)	41	[0–127]	—	Sets the mix between delay effect inputs Note: Internal range: -100 to 100; -100 is all input 1 - 100 is all input 2	0-based
Delay mode	42	[0–127]	0: Mono (fade); 1: Stereo (fade): 2: Ping-Pong (fade); 3: Mono (slew); 4: Stereo (slew); 5: Ping-Pong (slew)	Sets the delay mode	0-based
Delay time (ms)	43	[0–127]	—	Sets the delay time or the left delay time if the mode is 'stereo' Note: Internal range: 1 ms to 5 sec	0-based
Delay time R (ms)	44	[0–127]	—	Sets the right delay time if the mode is 'stereo' Note: Internal range: 1 ms to 5 sec	0-based
Delay feedback (%)	45	[0–127]	—	Sets the delay feedback Note: Internal range: 0 to 100	Centered
Delay mono-ize (%)	46	[0–127]	—	If the delay mode is 'ping-pong' sets the amount by which the input signal is reduced to a mono signal to be panned Note: Internal range: 0 to 100	0-based
Delay initial pan	47	[0–127]	—	If the delay mode is 'ping-pong' sets the pan position of the first delay Note: Internal range: -100 to 100	0-based
Reverb input 1	48	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses one input to the reverb	0-based
Reverb input 2	49	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses the other input to the reverb	0-based
Reverb input mix (%)	50	[0–127]	—	Sets the mix between reverb inputs Note: Internal range: -100 to 100; -100 is all input 1 - 100 is all input 2	0-based
Reverb model	51	[0–127]	0: Hall; 1: Hall 2; 2: Room; 3: Plate	Chooses the reverb model	0-based
Reverb time (ms)	52	[0–127]	—	Sets the reverb time Note: Internal range: 400 ms to 30 sec	0-based
Reverb size (%)	53	[0–127]	—	Sets the size of the reverb space Note: Internal range: 1 to 100; mainly affects the times of the early reflections	0-based
Reverb high damp (%)	54	[0–127]	—	Sets the amount of high frequency damping in the reverb tail Note: Internal range: 0 to 100	0-based
Reverb mod speed (Hz)	55	[0–127]	—	Sets the speed of reverb modulation Note: Internal range: 0.01 Hz to 5 Hz	Centered
Reverb mod depth (%)	56	[0–127]	—	Sets the depth of reverb modulation Note: Internal range: 0 to 100	0-based
Reverb early gain (dB)	57	[0–127]	—	Sets the output level of the early reflections Note: Internal range: -40 to 6	Centered
Reverb diff gain (dB)	58	[0–127]	—	Sets the output level of the diffuse reflections Note: Internal range: -40 to 6	0-based
Reverb low pass	59	[0–127]	—	Sets the frequency of a first order low-pass filter applied at the reverb input Note: Internal range: 100 Hz to 24000 Hz	0-based
Mono input	60	[0–127]	0: Mono; 1: Stereo	Sets whether the algorithm input is mono or stereo	0-based
VSR input	61	[0–127]	—	Selects which input is used for the VSR CV Note: 0 for 'None'	Centered
Pitch shift input	62	[0–127]	—	Selects which input is used for the pitch shift CV Note: 0 for 'None'	0-based
Aux outputs	63	[0–127]	0: Pre-EQ; 1: Post-EQ; 2: Pitch; 3: Delay; 4:Reverb	Chooses which effect section's outputs appear on outputs 3 & 4	0-based
Aux input L	64	[0–127]	—	Selects which input is mixed into the left channel as the aux signal Note: 0 for 'None'	0-based
Aux input R	65	[0–127]	—	Selects which input is mixed into the right channel as the aux signal Note: 0 for 'None'	0-based
Aux input gain (dB)	66	[0–127]	—	Sets the gain of the aux signal '-40' is treated as ∞dB Note: Internal range: -40 to 6	0-based
Delay clock input	67	[0–127]	—	Selects which input is used as a clock for the delay time Note: 0 for 'None'	0-based
Delay R clock input	68	[0–127]	—	Selects which input is used as a clock for the right delay time Note: 0 for 'None'	0-based
Delay multiplier	69	[0–127]	0~23: 1/64 multiplier to x16 multiplier	A multiplier to apply to the delay time set by the clock	0-based
Delay R multiplier	70	[0–127]	0~23: 1/64 multiplier to x16 multiplier	A multiplier to apply to the right delay time set by the clock	0-based

Poly Exciter

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1 (%)	1	[0–127]	—	Attenuverter for input 1 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 2 (%)	2	[0–127]	—	Attenuverter for input 2 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 3 (%)	3	[0–127]	—	Attenuverter for input 3 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 4 (%)	4	[0–127]	—	Attenuverter for input 4 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 5 (%)	5	[0–127]	—	Attenuverter for input 5 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 6 (%)	6	[0–127]	—	Attenuverter for input 6 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Mode	7	[0–127]	0: Strike; 1: Scrape; 2: Strum	Sets the excitation mode	0-based
Table	8	[0–127]	—	Chosen exciter table loaded from the MicroSD card Note: -1 for the internal table	0-based
Exciter	9	[0–127]	0: Ramp; 1: Noise burst; 2: Noise ramp; 3: Square; 4: Silence	Exciter number within the table	0-based
Exciter length (ms)	10	[0–127]	—	Exciter length in milliseconds Note: Internal Range: 1 to 597 ms	0-based
Tone	11	[0–127]	—	Sets the tone brightness of the resonator Note: Internal Range: 0 to 127	0-based
Damp	12	[0–127]	—	Sets the amount of damping in the resonator Note: Internal Range: 0 to 100	0-based
Release damp	13	[0–127]	—	Sets the amount of extra damping added when a note is released Note: Internal Range: 0 to 100	0-based
Pressure	14	[0–127]	—	Sets the baseline pressure applied Note: Internal Range: 0 to 127. Strum mode will be silent unless you give it pressure from one of the sources	0-based
Veloc -> strike (%)	15	[0–127]	—	Amount by which the note velocity affects the strength of the exciter Note: Internal Range: 0 to 100	0-based
Veloc -> tone (%)	16	[0–127]	—	Amount by which the note velocity affects the tone Note: Internal Range: -100 to 100	Centered
Veloc -> damp (%)	17	[0–127]	—	Amount by which the note velocity affects the damping Note: Internal Range: -100 to 100	Centered
Veloc -> exciter	18	[0–127]	—	Amount by which the note velocity affects the chosen exciter within the table Note: Internal Range: -127 to 127	Centered
Pitch -> damp (%)	19	[0–127]	—	Amount by which the note pitch affects the damping Note: Internal Range: -100 to 100	Centered
Pitch -> exciter (%)	20	[0–127]	—	Amount by which the note pitch affects the chosen exciter within the table Note: Internal Range: -100 to 100	Centered
Pitch -> LPF (%)	21	[0–127]	—	Amount by which the note pitch affects the low pass filter Note: Internal Range: -100 to 100	Centered
Press -> exciter	22	[0–127]	—	Amount by which pressure affects the chosen exciter within the table Note: Internal Range: -127 to 127	Centered
Env -> pitch	23	[0–127]	—	Amount by which the envelope affects the note pitch in units of 1/10th semitones Note: Internal Range: -120 to 120	Centered
Env -> exciter	24	[0–127]	—	Amount by which the envelope affects the chosen exciter within the table Note: Internal Range: -127 to 127	Centered
LFO -> pitch (cents)	25	[0–127]	—	Amount by which the LFO affects the note pitch Note: Internal Range: -200 to 200	Centered
LFO -> exciter	26	[0–127]	—	Amount by which the LFO affects the chosen exciter within the table Note: Internal Range: -127 to 127	Centered
LFO speed	27	[0–127]	—	LFO speed Range Note: Inernal Range: 0.01Hz to 10Hz	0-based
Attack time	28	[0–127]	—	Envelope attack time Note: Internal Range 1ms to 15s	0-based
Decay time	29	[0–127]	—	Envelope decay time Note: Internal Range 20ms to 15s	0-based
Sustain level	30	[0–127]	—	Envelope sustain level Note: Internal Range: -127 to 127. Note that this can go negative	Centered
Release time	31	[0–127]	—	Envelope release time Note: Internal Range 10ms to 30s	0-based
Coarse tune (ST)	32	[0–127]	—	Transposes the whole instrument in semitones Note: Internal Range: -60 to 60	Centered
Fine tune (cents)	33	[0–127]	—	Tunes the whole instrument in cents Note: Internal Range: -100 to 100	Centered
Gain (dB)	34	[0–127]	—	Applies an overall output gain Note: Internal Range: -40 to 24	0-based
Sustain	35	[0–127]	0: Off; 1: On	Activates sustain notes - remain playing when the gate goes low	0-based
Bend range (ST)	36	[0–127]	—	Pitch bend range in semitones Note: Internal Range: 0 to 48. Applies both to MIDI pitch bend and CV pitch bend in which case a CV of ±5V maps to the chosen bend range	0-based
Chord enable	37	[0–127]	0: Off; 1: On; 2: Gate 1; 3: Gate 2; 4: Gate 3; 5: Gates 1&1; 6: Gates 1&3; 7: Gates 2&3	Enables the chord generator function Note: Note the arpeggiator also requires this to be active The chord generator can be on or off globally or per gate MIDI2C counts as gate 3	0-based
Chord key	38	[0–127]	—	Key of the chord generator 0 is C - 1 is C#/Db etc Note: Internal Range: -12 to 12	Centered
Chord scale	39	[0–127]	0: Major; 1: Natural Minor; 2: Dominant; 3: Fully diminished; 4: Dominant Dim; 5: Augmented; 6: Whole Tone; 7: Chromatic; 8: Harmonic Minor	Scale of the chord generator	0-based
Chord shape	40	[0–127]	0: None; 1: 1 Octave; 2: 2 Octaves; 3: Root/Fifth; 4: Root/Fifth + 8ve; 5: Triad; 6: Triad + 8ve; 7: Sus4; 8: Sus4 + 8ve; 9: Sixth; 10: Sixth + 8ve; 11: Seventh; 12: Seventh + 8ve; 13: Ninth	Shape of the chord generator	0-based
Chord inversion	41	[0–127]	—	Chord inversion Note: The first inversion takes the first note of the chord and moves it an octave up so the lowest note in the chord is now the second eg C E G becomes E G C	0-based
Arpeggio 1 mode	42	[0–127]	0: Off; 1: Up; 2: Down; 3: Alt; 4: Alt2; 5: Up-8ve; 6: Down-8ve; 7: Alt-8ve; 8:Alt2-8ve; 9: Step Up; 10: Step Down; 11: Random; 12: Random2; 13: Random3; 14: As Played	Arpeggiator mode for each CV/gate input pair	0-based
Arpeggio 2 mode	43	[0–127]	0: Off; 1: Up; 2: Down; 3: Alt; 4: Alt2; 5: Up-8ve; 6: Down-8ve; 7: Alt-8ve; 8:Alt2-8ve; 9: Step Up; 10: Step Down; 11: Random; 12: Random2; 13: Random3; 14: As Played	Arpeggiator mode for each CV/gate input pair	0-based
Arpeggio 3 mode	44	[0–127]	0: Off; 1: Up; 2: Down; 3: Alt; 4: Alt2; 5: Up-8ve; 6: Down-8ve; 7: Alt-8ve; 8:Alt2-8ve; 9: Step Up; 10: Step Down; 11: Random; 12: Random2; 13: Random3; 14: As Played	Arpeggiator mode for each CV/gate input pair	0-based
Arpeggio 1 range	45	[0–127]	—	Sets the chord range for arpeggio1 Note: When set to 1 the arpeggio is simply the notes formed by the chord When set to 2 or 3 a copy of the chord is appended to the pattern one or two octaves higher creating a longer pattern that spans multiple octaves	0-based
Arpeggio 2 range	46	[0–127]	—	Sets the chord range for arpeggio2 Note: When set to 1 the arpeggio is simply the notes formed by the chord When set to 2 or 3 a copy of the chord is appended to the pattern one or two octaves higher creating a longer pattern that spans multiple octaves	0-based
Arpeggio 3 range	47	[0–127]	—	Sets the chord range for arpeggio3 Note: When set to 1 the arpeggio is simply the notes formed by the chord When set to 2 or 3 a copy of the chord is appended to the pattern one or two octaves higher creating a longer pattern that spans multiple octaves	0-based
Scala/MTS	48	[0–127]	—	Sets the Scala scale or MTS tuning to use	0-based
Scala KBM	49	[0–127]	—	Sets the Scala keyboard map to use	0-based
Low pass filter	50	[0–127]	—	Sets the frequency of a first-order low pass filter applied to each note Note: Internal Range: 30 Hz to 12000 Hz	0-based
Chorus mode	51	[0–127]	0: Off; 1: Mode 1; 2: Mode 2	Engages the chorus effect or 0 for off	0-based
Delay mode	52	[0–127]	0: Off; 1: Stereo; 2: Ping-Pong	Type of delay effect	0-based
Delay level (dB)	53	[0–127]	—	Level of the delay effect Note: Internal Range: -40 to 0. -40 is treated as ∞dB	0-based
Delay time (ms)	54	[0–127]	—	Delay time in milliseconds Note: Internal Range: 1 ms to 10 sec	0-based
Delay feedback (%)	55	[0–127]	—	Delay feedback Note: Internal Range: 0 to 100	Centered
Unison	56	[0–127]	—	Number of voices to play simultaneously for each note triggered Note: Internal Range: 1 to 8	0-based
Unison detune (cents)	57	[0–127]	—	Detune amount when Unison is active Note: Internal Range: 0 to 100	0-based
Output spread (%)	58	[0–127]	—	Amount of output spread if the selected output mode uses spread Note: Internal Range: -100 to 100	Centered
Break time (ms)	59	[0–127]	—	Break time for chords or 0 for off Note: Internal Range: 0 to 1000	0-based
Break direction	60	[0–127]	0: Up; 1: Down; 2: Alternating	Break direction Note: The 'Break time' and 'Break direction' parameters allow you to automatically 'break' chords i.e. The notes are played one at a time instead of simultaneously	0-based
Output mode	61	[0–127]	0: spread by voice; 1: spread by voice 2; 2: spread by pitch; 3: per Voice	Output mode	0-based
Input mode	62	[0–127]	0: No CV/Gate; 1: uses inputs 2/4 pitch/gate; 2: adds inputs 1/3 pitch/gate; 3: adds inputs 5/6 pitch/gate	Input mode Note: Internal Range: 0 to 18. Sets how many input CV/gate pairs the algorithm uses and whether the gates are in fact pressure inputs	0-based
Sustain mode	63	[0–127]	0: Synth; 1: Piano	Sets the behaviour of the sustain function Note: Synth: sustained notes cannot be retriggered; Piano: sustained notes can be retriggered	0-based
MIDI vel curve	64	[0–127]	0: Linear; 1: Fixed; 2: Set1; 3: Set2	Selects a velocity curve applied to incoming MIDI notes	0-based
Ext exciter input	65	[0–127]	0: None	External exciter input	0-based
Pitch bend input	66	[0–127]	0: None	Pitch bend input	0-based
Arp reset input	67	[0–127]	0: None	Input to use as the arpeggiator reset Note: A trigger pulse into this input will reset the arpeggiator back to step 1	0-based
Max voices	68	[0–127]	—	Sets the maximum number of simultaneous voices Note: Internal Range: 1 to 8	0-based
LFO retrigger	69	[0–127]	0: Poly; 1: Off	Sets whether the LFOs are retriggered at note on Note: The options are Poly each voice's LFO triggers independently or Off LFOs are free-running	0-based
LFO spread	70	[0–127]	—	Sets the phase to which LFOs are retriggered Note: Internal Range: 0 to 90 degree. The value in degrees is multiplied by the voice number to give the initial LFO phase When retrigger is off this sets the phase relationship between the free-running LFOs	0-based
Gate offset	71	[0–127]	—	Offsets delays the gate inputs relative to the pitch inputs Note: Internal Range: 0 to 496	0-based

Quad Envelope

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1 (%)	1	[0–127]	—	Attenuverter for input 1 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 2 (%)	2	[0–127]	—	Attenuverter for input 2 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 3 (%)	3	[0–127]	—	Attenuverter for input 3 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 4 (%)	4	[0–127]	—	Attenuverter for input 4 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 5 (%)	5	[0–127]	—	Attenuverter for input 5 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 6 (%)	6	[0–127]	—	Attenuverter for input 6 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Delay 1	7	[0–127]	—	Delay time for shape 1 In milliseconds multiplied by the Range parameter Note: Internal Range: 1 to 1000	0-based
Attack 1	8	[0–127]	—	Attack time for shape 1 Note: Internal Range: 1 to 1000	Centered
Hold 1	9	[0–127]	—	Hold time for shape 1 Note: Internal Range: 1 to 1000	0-based
Decay 1	10	[0–127]	—	Decay time for shape 1 Note: Internal Range: 1 to 1000	Centered
Sustain 1	11	[0–127]	—	Sustain level for shape 1 Note: Internal Range: -1000 to 1000	0-based
Release 1	12	[0–127]	—	Release time for shape 1 Note: Internal Range: 1 to 1000	Centered
Attack shape 1	13	[0–127]	—	Attack curve shape for shape 1 Note: Low values are more exponential - high values more linear	Centered
Decay shape 1	14	[0–127]	—	Decay and release curve shapes for shape 1 Low values are more exponential high values more linear Note: Low values are more exponential - high values more linear	Centered
Range 1	15	[0–127]	0: 0.01; 1: 0.1; 2: 1; 3: 10; 4: 100	Time range multiplier for shape 1	Centered
Delay 2	16	[0–127]	—	Delay time for shape 2 In milliseconds multiplied by the Range parameter Note: Internal Range: 1 to 1000	0-based
Attack 2	17	[0–127]	—	Attack time for shape 2 Note: Internal Range: 1 to 1000	Centered
Hold 2	18	[0–127]	—	Hold time for shape 2 Note: Internal Range: 1 to 1000	0-based
Decay 2	19	[0–127]	—	Decay time for shape 2 Note: Internal Range: 1 to 1000	Centered
Sustain 2	20	[0–127]	—	Sustain level for shape 2 Note: Internal Range: -1000 to 1000	0-based
Release 2	21	[0–127]	—	Release time for shape 2 Note: Internal Range: 1 to 1000	Centered
Attack shape 2	22	[0–127]	—	Attack curve shape for shape 2 Note: Low values are more exponential - high values more linear	Centered
Decay shape 2	23	[0–127]	—	Decay and release curve shapes for shape 2 Low values are more exponential high values more linear Note: Low values are more exponential - high values more linear	Centered
Range 2	24	[0–127]	0: 0.01; 1: 0.1; 2: 1; 3: 10; 4: 100	Time range multiplier for shape 2	Centered
Delay 3	25	[0–127]	—	Delay time for shape 3 In milliseconds multiplied by the Range parameter Note: Internal Range: 1 to 1000	0-based
Attack 3	26	[0–127]	—	Attack time for shape 3 Note: Internal Range: 1 to 1000	Centered
Hold 3	27	[0–127]	—	Hold time for shape 3 Note: Internal Range: 1 to 1000	0-based
Decay 3	28	[0–127]	—	Decay time for shape 3 Note: Internal Range: 1 to 1000	Centered
Sustain 3	29	[0–127]	—	Sustain level for shape 3 Note: Internal Range: -1000 to 1000	0-based
Release 3	30	[0–127]	—	Release time for shape 3 Note: Internal Range: 1 to 1000	Centered
Attack shape 3	31	[0–127]	—	Attack curve shape for shape 3 Note: Low values are more exponential - high values more linear	Centered
Decay shape 3	32	[0–127]	—	Decay and release curve shapes for shape 3 Low values are more exponential high values more linear Note: Low values are more exponential - high values more linear	Centered
Range 3	33	[0–127]	0: 0.01; 1: 0.1; 2: 1; 3: 10; 4: 100	Time range multiplier for shape 3	Centered
Delay 4	34	[0–127]	—	Delay time for shape 4 In milliseconds multiplied by the Range parameter Note: Internal Range: 1 to 1000	0-based
Attack 4	35	[0–127]	—	Attack time for shape 4 Note: Internal Range: 1 to 1000	Centered
Hold 4	36	[0–127]	—	Hold time for shape 4 Note: Internal Range: 1 to 1000	0-based
Decay 4	37	[0–127]	—	Decay time for shape 4 Note: Internal Range: 1 to 1000	Centered
Sustain 4	38	[0–127]	—	Sustain level for shape 4 Note: Internal Range: -1000 to 1000	0-based
Release 4	39	[0–127]	—	Release time for shape 4 Note: Internal Range: 1 to 1000	Centered
Attack shape 4	40	[0–127]	—	Attack curve shape for shape 4 Note: Low values are more exponential - high values more linear	Centered
Decay shape 4	41	[0–127]	—	Decay and release curve shapes for shape 4 Low values are more exponential high values more linear Note: Low values are more exponential - high values more linear	Centered
Range 4	42	[0–127]	0: 0.01; 1: 0.1; 2: 1; 3: 10; 4: 100	Time range multiplier for shape 4	Centered
Inputs 1	43	[0–127]	—	Choose the trigger/gate input and the VCA input for envelope 1 Note: Note that if no trigger input is specified (e.g. 'Trig -'' or 'Trg - VCA 2') the envelope can still be triggered by MIDI or by its clock input	0-based
Shape 1	44	[0–127]	—	Which Env 2 to 4 shapes to use for envelope 1 Note: Internal Range: 1 to 4	0-based
Trigger mode 1	45	[0–127]	0: Gate; 1: Trigger; 2: Gated loop; 3: Looping; 4: Trigger by clock; 5: Trigger no retrigger	Trigger mode for envelope 1	0-based
Clock input 1	46	[0–127]	—	Clock input for envelope 1 Note: Internal Range: 0 to 24. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work. The options are 'None' - one of the module's six inputs or a MIDI clock divisor	0-based
Clock mode 1	47	[0–127]	0: Off; 1: No stretch; 2: Stretch all; 3: Stretch sustain	Clock mode for envelope 1 Note: Internal Range: 0 to 3. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work	0-based
Scale 1	48	[0–127]	—	Scale for envelope 1 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V; negative values invert the envelope	0-based
Offset 1	49	[0–127]	—	DC offset for envelope 1 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V	Centered
Vel -> scale 1 (%)	50	[0–127]	—	Amount by which the trigger velocity affects the envelope 1 scale Note: Internal Range: 0 to 100	0-based
Vel -> attack 1 (%)	51	[0–127]	—	Amount by which the trigger velocity affects the envelope 1 attack time Note: Internal Range: -100 to 100	Centered
Trigger mode 2	52	[0–127]	0: Gate; 1: Trigger; 2: Gated loop; 3: Looping; 4: Trigger by clock; 5: Trigger no retrigger	Trigger mode for envelope 2	0-based
Clock input 2	53	[0–127]	—	Clock input for envelope 2 Note: Internal Range: 0 to 24. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work. The options are 'None' - one of the module's six inputs or a MIDI clock divisor	0-based
Clock mode 2	54	[0–127]	0: Off; 1: No stretch; 2: Stretch all; 3: Stretch sustain	Clock mode for envelope 2 Note: Internal Range: 0 to 3. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work	0-based
Scale 2	55	[0–127]	—	Scale for envelope 2 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V; Negative values invert the envelope	Centered
Offset 2	56	[0–127]	—	DC offset for envelope 2 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V	Centered
Vel -> scale 2 (%)	57	[0–127]	—	Amount by which the trigger velocity affects the envelope 2 scale Note: Internal Range: 0 to 100	0-based
Vel -> attack 2 (%)	58	[0–127]	—	Amount by which the trigger velocity affects the envelope 2 attack time Note: Internal Range: -100 to 100	Centered
Inputs 2	59	[0–127]	—	Choose the trigger/gate input and the VCA input for envelope 2 Note: Note that if no trigger input is specified (e.g. 'Trig -' or 'Trg - VCA 2'), the envelope can still be triggered by MIDI or by its clock input.	0-based
Shape 2	60	[0–127]	—	Which Env 1 3 4 shapes to use for envelope 2 Note: Internal Range: 1 to 4	0-based
Trigger mode 3	61	[0–127]	0: Gate; 1: Trigger; 2: Gated loop; 3: Looping; 4: Trigger by clock; 5: Trigger no retrigger	Trigger mode for envelope 3	0-based
Clock input 3	62	[0–127]	—	Clock input for envelope 3 Note: Internal Range: 0 to 24. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work. The options are 'None' - one of the module's six inputs or a MIDI clock divisor	0-based
Clock mode 3	63	[0–127]	0: Off; 1: No stretch; 2: Stretch all; 3: Stretch sustain	Clock mode for envelope 3 Note: Internal Range: 0 to 3. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work	0-based
Scale 3	64	[0–127]	—	Scale for envelope 3 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V; Negative values invert the envelope	Centered
Offset 3	65	[0–127]	—	DC offset for envelope 3 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V	Centered
Vel -> scale 3 (%)	66	[0–127]	—	Amount by which the trigger velocity affects the envelope 3 scale Note: Internal Range: 0 to 100	0-based
Vel -> attack 3 (%)	67	[0–127]	—	Amount by which the trigger velocity affects the envelope 3 attack time Note: Internal Range: -100 to 100	Centered
Inputs 3	68	[0–127]	—	Choose the trigger/gate input and the VCA input for envelope 3 Note: Note that if no trigger input is specified (e.g. 'Trig -'' or 'Trg - VCA 2'), the envelope can still be triggered by MIDI or by its clock input.	0-based
Shape 3	69	[0–127]	—	Which Env 1 2 4 shapes to use for envelope 3 Note: Internal Range: 1 to 4	0-based
Trigger mode 4	70	[0–127]	0: Gate; 1: Trigger; 2: Gated loop; 3: Looping; 4: Trigger by clock; 5: Trigger no retrigger	Trigger mode for envelope 4	0-based
Clock input 4	71	[0–127]	—	Clock input for envelope 4 Note: Internal Range: 0 to 24. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work. The options are 'None' - one of the module's six inputs or a MIDI clock divisor	0-based
Clock mode 4	72	[0–127]	0: Off; 1: No stretch; 2: Stretch all; 3: Stretch sustain	Clock mode for envelope 4 Note: Internal Range: 0 to 3. The 'Clock inputs' parameter works in conjunction with 'Clock mode'. You must specify a clock input or no clock mode will work	0-based
Scale 4	73	[0–127]	—	Scale for envelope 4 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V; Negative values invert the envelope	Centered
Offset 4	74	[0–127]	—	DC offset for envelope 4 in units of 100mV Note: Internal Range: -100 to 100. The full scale is ±10V	Centered
Vel -> scale 4 (%)	75	[0–127]	—	Amount by which the trigger velocity affects the envelope 4 scale Note: Internal Range: 0 to 100	0-based
Vel -> attack 4 (%)	76	[0–127]	—	Amount by which the trigger velocity affects the envelope 4 attack time Note: Internal Range: -100 to 100	Centered
Inputs 4	77	[0–127]	—	Choose the trigger/gate input and the VCA input for envelope 4 Note: Note that if no trigger input is specified (e.g. 'Trig -' or 'Trg - VCA 2'), the envelope can still be triggered by MIDI or by its clock input.	0-based
Shape 4	78	[0–127]	—	Which Env 1 2 3 shapes to use for envelope 4 Note: Internal Range: 1 to 4	0-based
MIDI vel curve	79	[0–127]	0: Linear; 1: Fixed; 2: Set1; 3: Set2	Selects a velocity curve applied to incoming MIDI notes	0-based

Convolver

Parameter	CC	Range	Usage	Description	Orientation
Attenuverter 1 (%)	1	[0–127]	—	Attenuverter for input 1 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 2 (%)	2	[0–127]	—	Attenuverter for input 2 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 3 (%)	3	[0–127]	—	Attenuverter for input 3 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 4 (%)	4	[0–127]	—	Attenuverter for input 4 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 5 (%)	5	[0–127]	—	Attenuverter for input 5 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Attenuverter 6 (%)	6	[0–127]	—	Attenuverter for input 6 Note: Internal range: -200 to 200. Negative values invert CV	0-based
Impulse	7	[0–127]	—	Chooses the impulse response file to load from the MicroSD card	0-based
Dry gain (dB)	8	[0–127]	—	Dry signal level in the output mix Note: Internal Range: -40 to 12. -40 is treated as ∞dB	0-based
Convolution gain (dB)	9	[0–127]	—	Convolution signal level in the output mix Note: Internal Range: -40 to 12. -40 is treated as ∞dB	0-based
Trigger mode	10	[0–127]	0: Triggered; 1: Gated	Recording trigger mode	0-based
Channels	11	[0–127]	0: Mono; 1: Mono to Stereo; 2: Stereo	Sets the mono or stereo usage of the inputs and outputs	0-based
Latency	12	[0–127]	0: 5 ms; 1: 11 ms; 2: 22 ms; 3: 43 ms	Sets the algorithm's latency	0-based
Sample rate	13	[0–127]	0: 48 kHz; 1: 24 kHz; 2: 12 kHz; 3: 6 kHz	Sets the algorithm's sample rate	0-based
Live update	14	[0–127]	0: Off; 1: On	Enables the 'live update' mode	0-based
Generate impulse	15	[0–127]	0: Off; 1: On	Generates an impulse and enables recording when set to 1	0-based

Expert Sleepers disting EX MIDI CCs & NRPNs