Panel navigation

ALGORITHM selects the physical track T1–T8. SELECT turns pages in the current family and moves the MENU cursor; it is a rotary encoder, distinct from the SEL/SCL button. On TRACKS, SELECT adjusts tempo instead. Repeated page-button taps cycle that family. K1–K4 edit the four columns shown on the screen. Modal dialogs take priority over normal page shortcuts.

GLO MENU uses SELECT to navigate, K1 to edit scalar settings, OCT+ for OK/ENTER and OCT− for BACK. SEL/SCL also enters dedicated screens; it does not toggle KEYS, change COLOR, or toggle scalar settings there. ABOUT scrolls with SELECT. HOME short cancels an overlay's pending action rather than executing its highlighted item.

Settings pages contain:

The separate MENU contains COLOR, SPEAKER EQ, USB LEVEL, PERFORM, ZOOM, ACCEL, BACKLIGHT, HARDWARE CALIBRATION and ABOUT. BLUETOOTH is conditional on a separate BLE build; its presence in source does not mean the default package enables it.

ACID sound engine

Up to two physical tracks can use ACID. There are no fixed bass-track positions. Select MODEL on EDIT to assign it; a third assignment is rejected. ACID is a mono voice with note gates, accents, ties, slides and a resonant Q24 four-pole ladder. Its CUTOF/RESO controls are separate from the track FILTER effect under FX.

EDIT layout

FASTSLOW is the first ACID factory preset in MODERN, before SQUELCH, UID 152: TUNE −12, DECAY 50, CUTOF 80, RESO 30, ENVMD 60, ACCNT 64, WAVE PULSE, GATE 40. A newly initialized ACID sound starts with MORPH 64 and the untouched generic track level 104 (−4 dB). User-adjusted and restored project levels are not reset; browsing ACID presets does not reset LEVEL. TUNE transposes the sound without rewriting notes. The eight-knob preset format does not store MORPH independently: Pulse presets establish their width default, while projects retain the additional track value. Cancelling preset audition restores the previous manual MORPH value.

WAVE and MORPH

Only one ACID track may own the MORPH waveform at a time. A conflicting selection says MORPH IN USE and retains the requesting track's previous waveform. Loading conflicting projects resolves ownership by physical track order. Both tracks may use SAW/PULSE independently. Extreme narrow PWM naturally changes harmonic balance; its bass fundamental is not identical to a 50% pulse.

Stored WAVE IDs are deliberately stable: 0 SAW, 1 legacy SQUARE, 2 legacy fixed-width PULSE, 3 MORPH. IDs 1/2 both display PULSE; encoder selection exposes only three choices. Old SQUARE loads at MORPH 64, preserving the oscillator's 50% output. Old fixed-25% PULSE loads at MORPH 28 (approximately 24.69%, the nearest available integer setting). Newly saved PWM amounts are retained. Legacy MORPH never becomes PULSE.

ACCNT controls accent strength; accented notes also affect filter-envelope behavior. SLIDE belongs to the outgoing step and carries into the next audible note; TIE extends a held sequencer note and does not start a note after a rest. TIE ignores its own PROB/RATCH/ACC fields. GATE controls normal note duration. STOP/restart and mapping changes use the existing gate/slide cleanup; there is a roughly 5.5 s lifetime backstop on a continuously held ACID note/chain.

Accepted sound limitation

The owner reports RC11 hardware acceptance with 10 of 11 checks PASS and accepts the remaining subjective resonance/filter character concern for 0.25.0. The ACID engine is not claimed to sound identical to X0X-RMX or an analogue TB-303. RC10 introduced a 150 Hz high-pass in the resonance-feedback path to improve bass retention, without increasing global ACID gain. The earlier RC9 report of very weak high-MORPH output was not reproduced in controlled offline renders; those renders are not proof of a hardware-specific root cause. No additional DSP change is part of this release-documentation work.

TB-3PO melody generator

Select an ACID track and press ARP. Repeated ARP taps alternate:

Defaults: DENS 70, ACCENT 40, SLIDE 25, OCTS 2, ROOT A, SCALE MPEN, OCTAVE 1, MUTATE OFF. Each physical track retains its settings and seed, including when switched to a drum model and back. Two ACID tracks can generate independently anywhere in T1–T8. Generator OCTAVE is the stored note register, independent of sound TUNE; the root base note is 12 × (OCTAVE + 1) + ROOT before sound transposition.

The 22 scales, in order, are MPEN, PMAJ, EGYP, HIRA, MIN, MAJ, DOR, PHRY, LYD, MIXO, LOCR, HARM, MELM, HMAJ, ALTR, GYPS, ROMN, BHAI, MARV, PURV, TODI, ARAB.

• OCT+ NEW LINE: replaces the target's step line using current settings and a new seed; says NEW LINE.
• OCT− MUTATE: restrained changes to the existing phrase, retaining rhythmic and melodic anchors; says MUTATED or NO CHANGE.
• Parameter changes prepare the next operation, not immediate note edits. The * stale indicator marks changed generation settings until NEW/MUTATE.
• NEW/MUTATE work while stopped or playing. Playing edits are prepared separately and copied at the next chronological step boundary (QUEUED - NEXT STEP), not exposed half-written to playback. They retain LEN/DIV and set SRC to STEP.
• Ordinary OCT presses reach the generator with KEYS or ENV/STEPS enabled. Deliberate held-STEP edits and ENV-held bank navigation still have priority; menu, confirmation and MIDI LEARN contexts retain theirs.

The core comes from the pinned X0X-RMX v1.1.0 implementation: motifs, related phrases, root/fifth preference, rests, accents, nearby-note slides and restrained mutation. DENS 0 keeps one root note;100 fills every step. ACCENT 0/100 gives none/all generated notes; SLIDE 0 disables slides, 100 slides eligible adjacent sounding notes. One-step patterns do not slide into themselves. New plain events clear stale articulation, probability and ratchet fields. Mutation changes only affected events and does not requantize every hand-edited note. NEW also clears unused positions beyond LEN; MUTATE operates within the active length. Save first if you need the previous line. Motion/lock bank contents and Remix settings are not erased by these operations.

Automatic MUTATE counts completed track-pattern loops, despite the source parameter's “bars” terminology. Thus 1 means every pattern wrap; for a 16-step 1/16 pattern this is one 4/4 bar, but other lengths/divisions differ. OFF leaves the line unchanged. Runtime counters/random streams reset at transport start. During Song playback, mutation uses slot-owned RAM step copies; it does not rewrite saved project records. Generator controls are blocked while a Song is armed/running.

ORB Remix

SEQ order is STEP → PATTERN → REMIX → MOTION → SONG. The 256 owner-created mappings are banks A–P, patterns 1–16; A1 is identity, and repeated source selections are intentional. The 16-position preview shows the draft's source positions.

All drum/percussion tracks share GLOBAL DRUM. Each physical ACID track instead uses its independent BASS setting. Selecting any drum track edits the same global configuration; selecting an ACID track edits only that track. Changing a model switches the effective source automatically without erasing its retained Bass setting. Grids-sourced tracks bypass Remix until SRC becomes STEP.

Stopped confirmation is immediate. Playing confirmation and ON/OFF changes take effect at the next chronological step boundary of each affected track; different drum divisions can reach that boundary at different times. DRAFT, SELECTED, QUEUED, READY, OFF - PREVIEW ONLY, A1 IDENTITY and GRIDS BYPASS distinguish states. OCT+ breathes for an unconfirmed draft. Leaving the page never confirms it. STOP commits an explicitly queued setting. Project SAVE stores committed settings, not unapplied drafts. Song mode displays its slot-owned selection and blocks editing with the existing STOP TO EDIT policy.

Remix changes source events, not time: the source for chronological position c is (c & ~15) + mapping[c & 15]. Each 16-step block in a 64-step pattern maps separately. A short LEN can therefore read stored positions beyond LEN inside the same block. Notes, drum accents/ratchets, ACID lookahead, Motion and eligible locks follow the same source. Swing, division, loop conditions, Song duration and recording grids remain chronological. Recording, manual editing, Step Record, Motion capture and lock editing always write original chronological positions—there is no inverse mapping or destructive “bake.” Turn Remix OFF to hear the stored line in order.

Steps, probability and ratchets

PATTERN has LEN 1–64, DIV, SWG and SRC (STEP, G-KCK, G-SNR, G-HAT). The 16 white keys show a bank of steps. On STEP, K1 changes bank; OCT+/− navigate banks when not owned by another mode. A short step tap toggles on release. Holding about 0.3s turns an off step on for editing and leaves an already-on step on.

On SEQ STEP, hold a step: K1 PROB, K2 RATCH, K3 ACCENT (clockwise on, anticlockwise off). OCT+ held plus a step toggles its accent. PROB offers 0–100% in 5% increments, 1-SHOT (first loop after PLAY only), and A/B conditions from 1/2 through 8/8. A/B means play on loop A of every B loops of that track, not a global bar count.100% always plays; a percentage uses that track's probability stream.

RATCH 1–4 gives that many equally spaced triggers within the chronological step, including its swung duration. Probability is evaluated for the step event, not independently for each ratchet. ACID uses the corresponding note/gate logic for these retriggers; a TIE does not ratchet. Remix supplies the source event's PROB and RATCH but does not reorder the chronological condition cycle or hit timing.

Recording and editing

REC on TRACKS arms/disarms the selected track. Elsewhere a tap toggles REC ALL, restoring the previous arm mask when turned off. PLAY starts transport separately. Armed live hits write to the nearest swing-aware chronological position. KEYS notes record to the selected track; ACID held continuations write TIEs, overlapping legato writes SLIDE, with chronological wrap protection. Other tracks are not rewritten.

Step Record: KEYS on, STEP page, transport stopped, SRC STEP; tap REC. K1 STEP, K2 NOTE, K3 TIME (NOTE/TIE/REST), K4 FLAG (-/ACC/SLD/A+S); EDIT writes a rest. A key enters a note and advances on release. REC, PLAY, leaving the page or changing track ends Step Record. Remix does not redirect the recording cursor.

Motion and parameter locks

Arm the track and play; turning a recordable knob captures its value at the nearest chronological step. The same parameter/step replaces its existing event. On SEQ > MOTION, K1 PLAY controls recorded Motion, K2/K3 show MOTION/LOCKS counts, K4 clockwise asks to CLEAR the track's Motion (OCT+ YES, OCT− NO).

Motion is held-value automation: a value holds until the next event, with base restoration at chronological step 0, STOP, or PLAY OFF. A repeated mapped source 0 at another chronological position does not reset the base. There is no interpolation engine. Turning a knob when not recording establishes its new base.

For a parameter lock, enable ENV/STEPS, hold a step off the SEQ pages, and turn a recordable knob. The step gets its own value without changing the manual base. OCT− tap while holding clears locks on that page's knobs; hold OCT− about 0.6s to clear all locks on that step. Locks on OFF steps remain stored but dormant. Locks play independently of MOTION PLAY; Motion CLEAR does not erase them. SEQ STEP retains its PROB/RATCH/ACC controls instead of lock entry.

Playback order is Motion → Lock → LFO. Previous locks release on the next chronological event; STOP restores values. With Remix, events and lock ON eligibility follow the audible source. Motion and locks share a 1024-event bank per project across all tracks. MOTION FULL/LOCKS FULL indicate capacity; clear unneeded events before recording more.

Recordable parameters include sound E0–E7, LEVEL/PAN, supported FX/filter/resonator and layer controls, LFO RATE/MORPH/DEPTH and routing-slot DEPTH. Timing, MODEL and routing selectors are not recordable. ACID's additional MORPH parameter is not currently in the Motion/lock recordable set; use manual control or A.MOR LFO routing. Do not confuse that with an LFO's own recordable MORPH parameter.

Two LFOs and four routing slots

Each track has two independent LFOs, paired on three pages:

Per-slot BIP / UNI+ / UNI−

K2 SRC now selects source and mode together on the existing DEST page:

BIP keeps the exact RC11 signed DEPTH arithmetic and rounding. UNI+ offsets never fall below zero; UNI− offsets never rise above zero. From RC13, UNI DEPTH is unsigned 0–100%; mode alone sets direction. Switching from BIP uses the absolute magnitude. RC12 negative UNI depths load/play as their magnitude, without phase reversal. BIP retains its signed −100% to +100% range and exact existing arithmetic. DEPTH 0 produces no modulation. Destination limits still clamp the accumulated value. Other slots targeting the same parameter can contribute offsets in a different direction; a single UNI+ slot does not override a simultaneous negative slot.

Each of the four slots has its own mode. Summing/restoration, manual bases, Motion and Lock precedence are unchanged. MIDI Learn retains parameter IDs and now maps SRC's CC range across six choices; controller values formerly selecting only LFO1/2 may need adjustment. SRC/mode remains non-recordable by Motion or locks; DEPTH remains recordable. The page's OCT+ rate-mode shortcut decodes the selected LFO, not the mode.

All old stored 0/1 sources and default/new initialized slots remain BIP. Presets do not contain or reset routing modes. No record size, parameter ID or flash-layout change is made. New UNI projects require RC12 to interpret their mode: older firmware does not understand source 2–5; retain backups before downgrading. Project SAVE/LOAD retains all four encoded fields. Song keeps its existing ownership: routing settings remain live-track controls, while row Motion/locks can affect recordable DEPTH. RC12 does not introduce Song-owned routing selectors.

Waves: SQUAR, SAW, RSAW, SINE, TRI, S&H, WANDR, EXP+, EXP−, RWALK. MODE is SYNC, HZ or TIME; TRIG is FREE, HIT or PLAY. On LFO pages OCT+ cycles the last-touched LFO's rate mode when KEYS does not own OCT. Routing slots retain independent source and depth; several slots may target the same parameter.

Select A.MOR to modulate ACID PWM/MORPH. Either or both LFOs can target it on either ACID track, around its manual base; sums clamp 0–127 and the base returns after each processing block, without cumulative drift. On SAW it is inaudible; on non-ACID it is inert and labelled --. Existing destination IDs remain unchanged; A.MOR is appended at 19. The LFO's own MORPH shapes the LFO—it is not ACID MORPH.

Grids and WRITE

On a selected drum track ARP opens GRIDS. MAP page 1 has MODE/X/Y/CHAOS; page 2 has KICK/SNARE/HAT fill and K4 ASSIGN / 3 TRACKS. In EUCL mode, page 1 replaces X/Y/CHAOS with each channel's length; page 2 retains fills and ASSIGN.

One clockwise K4 movement on page 2 assigns T1/T2/T3 SRC to G-KCK/G-SNR/G-HAT. Anticlockwise does nothing. It does not change models, steps or sounds, so choose appropriate drum models yourself. T4–T8 are untouched. Song editing restrictions apply.

On either GRIDS page, stopped, OCT+ WRITE overwrites all non-ACID tracks currently sourced from a Grids channel with a deterministic 64-position 1/32 snapshot of that channel. Trigger/accent fields are written with ordinary drum defaults; LEN 64, DIV 1/32 and SRC STEP are set. Sounds, other track parameters, STEP-source tracks, ACID tracks, Remix settings and live generator runtime are retained. This is an explicit overwrite: save the project first. NO GRIDS TRACKS means no eligible targets; while playing/chain busy, STOP TO WRITE leaves everything unchanged. The normal WRITE-available OCT+ cue breathes when stopped with eligible tracks; modal and other button-mode LED priorities still apply.

Written steps can now use GLOBAL DRUM Remix. The snapshot is not a perfect timing clone of live Grids under all swing settings: live Grids halves swung 1/16 periods, whereas STEP playback swings its own selected division. Track swing also affects STEP playback. WRITE preserves those settings rather than silently changing groove.

Projects and Song

SAVE > PROJECT: K1 SLOT A–D, K2 NAME, K3 LOAD, K4 SAVE. OCT−/OCT+ are alternative LOAD/SAVE inputs through the same handlers. GO actions use a first activation to arm (AGAIN: LOAD/SAVE) and a second within approximately 1.5s to act. Shortcuts do not bypass this safeguard. Stop transport for SAVE/LOAD (STOP TO SAVE/LOAD). NAME supports 12 characters; OCT+ writes the name, OCT− or HOME cancels.

A project stores sounds, levels, steps/timing, Grids settings, LFOs/routing, Motion and locks, Song rows, global Drum/individual Bass Remix, per-track TB-3PO settings and seeds, and ACID MORPH/PWM values. FDRF records remain 3840 bytes; Remix/TB-3PO use validated reserved extensions, while ACID's extra parameter uses spare bytes. Absent/invalid metadata gives Remix OFF and generator defaults without regenerating old patterns. Legacy wave migration is described above. Settings such as COLOR are device-wide and not changed by loading another project.

The last saved project restores at power-on. Failed restore shows LOAD FAILED and asks whether to start new; the existing YES/NO choices remain. SEQ held at power-on is the safe-start path that skips project loading. Older supported formats convert forward; pre-FDRF firmware cannot be relied on to read new saves. The separate lock bank is committed before its linked project record. A missing or invalid bank yields LOCKS LOST, not reinterpretation as another bank. USR1/USR2 hold 80 KiB each; USR3 holds 48 KiB because the final 32 KiB is used by lock banks. The existing one-time shortening of a longer legacy USR3 can discard its tail.

SONG supports 16 rows, each referencing A–D with 1–16 repeats and optional LOOP. K1 ROW, K2 SLOT, K3 REPS, K4 LOOP. Select the + row and turn SLOT/REPS to append. Hold REC on a row for DELETE ROW, or on the append row for CLEAR SONG; confirm with OCT+, cancel with OCT−. PLAY on SONG prepares/starts the chain; STOP restores the live project's timing, wave/MORPH and record-arm state.

Each row uses its slot's steps, LEN/DIV/SWG/SRC, Motion/lock bank, Remix selections and TB-3PO settings/seed. ACID wave/MORPH are also restored from prepared slot data. Song is not a complete sound-kit/preset switch: the existing live models and other sound settings remain the basis of playback. A row lasts as long as its longest track pattern times REPS. Mapping does not change that duration. Slot-owned Remix never overwrites live settings; editing/recording restrictions while armed or running use STOP TO EDIT. Automatic Song mutations affect RAM copies only.

Color themes

GLO short → MENU → COLOR. K1 steps in either direction; OCT+ advances, wrapping. The twelve themes in menu order are ORANGE, ORANGE INV, BLUE, BLUE INV, WHITE, WHITE INV, YELLOW, YELLOW INV, VIOLET, VIOLET INV, RED, RED INV.

Values are quantized to RGB565 by the existing renderer. ORANGE's two polarities use the distinct specified pairs, not an exact swap. Stored indices/default are unchanged: earlier index 0/1 selections now show Orange. Historical GREEN slots 3/5 are WHITE/WHITE INV; obsolete GREEN entries are not restored. Device preferences save when MENU closes. SEL ENTER does not change a theme.

Attribution and release status

Nauclerus development/modifications/remix work: Mr. Roboto. Hortator drum-machine fork: DEADACTIVE. Original Felucca firmware: Leo Kuroshita (@kurogedelic), Hügelton Instruments. Original authors, contributors and license notices remain in MENU > ABOUT and LICENSING.md; see the README Credits for the complete third-party list.

See release notes for the stable announcement and release readiness for release validation and known limitations.

The ORB record is resolved by Mr. Roboto's explicit independent-creation/redistribution declaration; Future Retro Orb is conceptual inspiration only. Exact table values and their source-to-binary chain are retained; see current provenance.

Identity migration and compatibility: NAU-0250-015.

Mutes

Hold GLO: the MUTE screen, up while GLO is held (a quick GLO tap opens MENU instead; a key pressed while GLO is down opens the screen at once). The eight tracks are boxes, filled = heard, outline = muted, each with its number and model, and under it the key that toggles it (F3 to F4, the white keys; their LEDs lit for the heard tracks). The top C# sets MUTE: NOW, the top D# MUTE: NEXT BAR (the same setting as GLOBAL 3/3 MUTE): with NEXT BAR, a mute made while playing blinks, then lands on the next downbeat. G4 (the next white key up) turns MIDI LEARN on and off. While the screen is up the keys play nothing and the knobs and the other buttons rest, PLAY aside. Let go of GLO: back to the page you were on.

MIDI LEARN

A controller's knobs, faders, buttons and pads can each be learned: up to 32 of them.

• Turn it on: hold GLO (the MUTE screen) and press G4: G4 LEARN: ON, and MIDI LEARN ON in the top bar. Let go of GLO: the footer's first row (where the steps are) shows LEARN: TURN OR PRESS.
• Pick a knob: turn a knob of the selected track on any page: HOME, EDIT (SOUND, LAYER), FX (FILTER, the sends, SLICER, RESON), LFO, PATTERN, or LEVEL / LEN / PAN on HOME's TRACKS mode. It edits as usual and the footer says T3 DECAY: SEND A CC.
• Or pick an action: while LEARN is on, PLAY, REC, ALGORITHM and the PERFORM keys pick their action instead of doing their job (they work again after OCT+): the footer says PLAY: SEND CC/NOTE, FX R1/16: SEND CC/NOTE, FX MUTE T3: SEND CC/NOTE; a PERFORM knob FX FILTER: SEND A CC.
• Move the controller's knob, or press its button or pad: the first CC (or, for an action, note) that arrives (any channel; over USB, the TRS jack, or Bluetooth in MIDI mode) is learned: CC74 -> T3 DECAY, NOTE36 -> PLAY, CC20 -> FX FILTER. Then pick the next one. One already learned shows T3 DECAY = CC74 or PLAY = NOTE36; sending another replaces it.
• The binding is to that track: CC74 moves track 3's DECAY whichever track is selected later.
• One control, one thing: learning a CC or note again moves it to the new pick; learning a pick again replaces its CC or note. LEARN FULL after 32. CC 0 and 32 (bank select) and 120 to 127 (channel mode) are never learned (CC NOT LEARNABLE). MODEL and RESON's MODEL can't be learned (NOT LEARNABLE).
• While LEARN is on, OCT- and OCT+ are its own: OCT- clears the pick's CC or note (T3 DECAY CC CLEARED, PLAY CLEARED); with nothing picked it asks CLEAR ALL LEARNED? (OCT+ yes, OCT- no). OCT+ ends LEARN (LEARN DONE), as GLO + G4 does. So pick the page first (LAYER, the step bank, a DEST slot), then turn LEARN on. The menu, a confirm, or NAME also end it; it is always off at power-on.
• What a CC does on a knob: 0 to 127 spans the knob's whole range; a centred knob (PAN, an LFO's DEPTH, FILTER ENV) is 0 at 64; a list (FILTER TYPE, DIV, WAVE) steps through it in its order. A model's knob follows the track's model (a model without that knob ignores it). An LFO on the same knob keeps moving it around the new value. During a song, PATTERN's knobs stay as they are. CC moves are not recorded as motion.
• A button: a CC of 64 or more is a press, under 64 a release (only the change counts: a knob swept past 64 presses once); a note on is a press, its note off (or velocity 0) the release. A learned note plays no drum. A PERFORM effect held this way follows the keys' rules (the last pressed buffer effect plays) and ends with the release, or when the menu, a confirm, NAME or the MUTE screen comes up (press again after).
• Learned CCs and notes act whether LEARN is on or off, on every input but Bluetooth in SMC DAW mode (the SMC-Mixer's layout keeps its own controls). PLAY, REC and the track buttons act where the FM-1's own would (not in the menu or a confirm). They are saved in the FM-1's flash (not in projects) after each change, when stopped; the 16 CCs of the first MIDI LEARN load as they were.

PERFORM

Hold FX for the PERFORM screen. The black keys are buffer effects while held (REPEAT 1/8 1/16 1/32, REVERSE, TAPE STOP, LPF and HPF sweeps, FREEZE, OCT UP / DN), the white keys silence their tracks while held, and KNOB 1 to 4 are FILTER (left LPF, right HPF), CRUSH, THROW and DEPTH: while the PERFORM screen is up the knobs are only these, and SELECT turns no page under it. The knob effects stay on after FX is let go (or the PERFORM page closes) and keep working on every page; the top bar shows an amber FX in place of the tempo icon while any is on. To switch one off, turn it back to 0 on the PERFORM screen; TOOLS INIT* switches them all off. The buffer effects stop when their key is let go.

CPU and PRIO

When an audio block takes more than 95 % of its time, the FM-1 stops one sounding voice to catch up, and the top bar shows a red CPU icon for 2 s. A track with PRIO LOW loses its voices before a PRIO HIGH one, the oldest first; a held ACID note goes last. The same order picks the voice to stop when too many play at once. PRIO is on the track's last EDIT (SOUND) page, after CHOKE: HIGH by default, saved in the project.

Knob acceleration

MENU (GLO short) ACCEL (ON by default): a knob turned on in one direction over a wide value (more than 32 steps) speeds up with how fast it turns. A click at a time, or a turn of up to about 12 clicks a second, is one step a click (fine control); faster, the steps grow with the speed, in fractions of a step: about x2 at 20 clicks a second, x4 at 40, up to x8 (x4 on a value of 64 steps or less). A 0..127 value takes about 65 clicks at 20 a second, 34 at 40, 24 at 60 (upstream Felucca's: 127, 65, 64). The first clicks of a turn and the first click back after a reversal are one step. Lists of names (MODEL, TYPE, WAVE ..) are one entry a click at any speed; the PRESETS list at most x4. ACCEL OFF: one step a click at any speed.

Key backlight

MENU (GLO short) BACKLIGHT (the LED levels of upstream Felucca's MENU > LEDS): OFF (lit or dark, as before), DIM LO, DIM HI, INV, INV LO, INV HI. DIM LO (an older Hortator's BACKLIGHT ON): every key LED that is not lit and every idle button glows at about 5 %, so the panel can be found in the dark; on every screen where the white keys are the selected track's steps (STEP, PATTERN, MOTION and SONG while KEYS is off; HOME's TRACKS mode while no track is armed), the unlit steps 1, 5, 9 and 13 of the bank shown glow at about 25 % (bank 2: 17, 21, 25, 29), marking the beats. DIM HI: the same, brighter (about 10 %, the beats about 30 %). INV turns it around as the stock firmware does: the idle LEDs lit, the active ones (steps that are on, the playhead, held keys, the page's button) dark; INV LO / INV HI the same with the idle ones at about 10 % / 25 %. In every mode OCT- / OCT+ breathe (fade in and out, upstream Felucca's) where pressing them would do something: the next / previous bank on the steps, LAYER from SOUND, the LFO pages' RATE MODE (OCT+), YES in a dialog, OK in the menu, NAME's RENAME, MIDI LEARN's DONE, the PRESETS list's LOAD (and DELETE on a used user slot); a way back (NO, CANCEL, BACK, LAYER's OCT-) is lit; KEYS' octave shift lit as before. KNOB 1 on the row steps through the levels, OCT+ steps on and wraps. A device setting: saved when the menu closes, not part of projects; OFF until it is set. A safe start keeps every LED dark, as before.

Sound engines, presets and FX

EDIT selects the model. PRESETS browses/auditions; hold EDIT for the PRESETS list: LOAD, USER SAVE and DELETE with existing safeguards. HOME cancels audition. Model-specific labels/ranges come directly from the firmware; the initial drum kit is preserved.

FX cycles FILTER (type/cutoff/resonance/envelope/decay), DIST/CHOR/DLY/REV, SLICER, RESON, then global delay, reverb and chorus controls. Hold FX for PERFORM. These track effects are distinct from the ACID ladder CUTOF/RESO.

USB/TRS MIDI hardware, physical calibration, real-device CPU shedding/recovery and firmware updates are not simulated. USB audio here is browser Web Audio, not a USB device. BLE is an inherited source option, not part of this simulator. Browser saves are IndexedDB storage on this origin; clearing site data removes them. The simulator has no hardware installation actions; the separate verified-package installer requires explicit user action.