v1.2.2

Features

• Move named markers on timeline ..
  • UNDO Marker Move now takes the playhead back to the marker's original place, and Redo takes it to the moved place again, the way every other Undo lands on what changed. Before, the playhead stayed on empty tape where the marker had been, and MOVE <name> went blank until you navigated back to the marker
  • Fixed the origin point issue
  • MOVE MARKER: on the Audio and MIDI Overview, Encoder 3 in SCROLL mode moves the marker under the playhead. The label reads MOVE <name> whenever the playhead sits on a marker; turn to stage a move by SCROLL steps (clockwise later, counter-clockwise earlier), push to apply. Everything the marker carries moves with it — label, colour, lock, ▶ start flag, tempo / time signature change, MIDI event
  • While staging, the marker is drawn where it will land and its old place stays as a muted ghost, with MOVE <name> +2 beats - PUSH to apply beside it. The playhead rides along with the marker, so it never leaves the screen however far you carry it. Any other input discards the staged move, like SPLICE — except changing the SCROLL step on Encoder 1, so you can travel in bars and land in sixteenths
  • After APPLY the playhead stays on the marker. UNDO puts it back (UNDO Marker Move)
  • The lock does not block a move — like SPLICE, a staged-and-pushed move is a deliberate edit. Other markers are no obstacle while turning; landing exactly on one is settled at push like a LOOP Paste destination: an unlocked marker there is replaced (Undo brings it back), a locked, tempo or MIDI-event marker refuses the push and keeps the staged move
• Make zoom and note values in main midi screen react to midi controllers from main audio
  • MIDI Learn: mappings learned on the Audio Overview's SCROLL page now follow the overview on screen. While the MIDI Overview is showing, the same knobs drive its scroll step and zoom, which used to change the hidden Audio Overview instead. Each overview keeps its own step and zoom, as with the encoders on the device
  • MOVE MARKER and SPLICE staged from a learned knob on the MIDI Overview now use the step shown there. They used to take the Audio Overview's step
  • A learned knob now discards a staged MOVE MARKER the way a physical control does, as it already did for SPLICE
• Numeric keys for locaters in main audio screen
  • Locators from a MIDI controller: eight new button actions in UTILITY → MIDI → CONTROL, Locate 1 … Locate 8, jump straight to a marker. Which marker a number means is decided by the marker's label: a label that starts with the number is that locator (1 Verse, 2. Chorus, 3-Solo, 4). No new marker setting, the number is visible on the timeline and stays with its marker when markers are added, moved or reordered
  • The leading digits are read as one number, so 12 Bar Blues does not answer to Locate 1. Several markers with the same number: the earliest on the tape wins. No marker with that number: NO MARKER 3 appears briefly. The jump is immediate, like Shift Left / Shift Right from a controller
  • MIDI Control button mappings can listen to notes: Encoder 1 in the Add/Edit modal switches the source between CC and NOTE, and hitting a pad while the modal is open fills in the note and channel. The action fires on Note On at any velocity and re-arms on Note Off, so pad controllers work without reprogramming them to send CCs. A note and a CC of the same number are separate sources. Encoder mappings stay CC-only
  • The Add/Edit modal now spans all eight encoder columns, and CANCEL moved from Track Button 2 to Track Button 1, under the new SOURCE pill
• Go to next available empty bar
  • FREE BAR: a new tile in the Quick Settings panel (touch and hold the track area of the Audio or MIDI Overview) moves the playhead to the next empty bar, the next place to paste or record without erasing anything. FREE BAR / BAR 17 shows where it landed
  • A bar is free when, from its bar line for one full bar, all 8 audio tracks stay below -40 dB and no MIDI note sounds on any MIDI track. Tempo and time signature markers are taken into account, mutes and solos are ignored, so a muted track's material is never landed on
  • Touching it again walks from gap to gap. The last stop is the first bar line behind all audio and MIDI; from there on TAPE IS FREE FROM HERE appears. Blocked while recording
  • Also available from a controller: the new Free Bar button action in UTILITY → MIDI → CONTROL
  • FREE BAR takes the place of the CLIPBOARD tile. The Audio Clipboard Modifier still opens by touching the clipboard indicator on the Audio Overview
• FR: loop region cut function (without markers)
  • Audio Edit → Region Editing (Track Button 7): push SLIDE (Encoder 4) to set START / END to the current Loop region (SELECTION = LOOP); the playhead jumps to the new START. Cut / Copy then act on the selected track only and leave every Marker in place — set the loop around a part that runs through any number of Markers, open Audio Edit, Track Button 7, push SLIDE, Cut. LOOP + Cut on the overview is unchanged: it stays the arrange gesture that takes all unmuted tracks, MIDI and the Markers
  • With no loop set the push shows NO LOOP REGION and changes nothing; a selection that was switched off comes back with the push
  • Fixed: pushing SCROLL (Encoder 8) in Audio Edit's Edit / Nudge mode moved the region to the wrong place instead of to the playhead
• FR: Clipmod Creative Modifiers
  • The overlays that sit on top of the waveform no longer glow. GRAIN / SPRAY grains are outlines on a dark backing instead of filled humps, so they read over a waveform of the same colour and the waveform stays visible through them. RESO shows the bank's frequency response as a graph in a dark strip along the bottom of the waveform: one peak per band, DECAY narrowing the peaks, SLOPE growing a shelf on the passed side, the root note named, instead of a glowing line per band across the waveform. REVERB draws its decay envelope over the region, as tall as MIX at START and falling away over the tail's length, instead of shading after END. The PITCH / FILTER sweep lines and the MOD-page LFO traces sit on the same dark backing
  • MOD page: the LFO trace over the waveform now reflects DEPTH. VOL LFO draws the gain from the top, PAN LFO and PITCH LFO swing around the centre line, FILT LFO draws the cutoff on the filter scale; DEPTH 0 is a flat line
  • FILT LFO: DEPTH now runs from -100 to 100 %. Positive values close a low-pass from 20 kHz as before, negative values open a high-pass from 20 Hz by up to 8 octaves instead. The value shows LP / HP in front of the percentage
  • PAN LFO / PITCH LFO now start at the centre / the original pitch: SINE, TRI and SAW UP move right / up first, SAW DN left / down first (SQUARE and S&H still begin at the top). One SHAPE push starts at the peak, two at the centre falling, three at the trough
  • While a group's settings are un-applied the screen now shows what it will do: GRAIN / SPRAY draw the grains over the waveform (size, spacing, contour, transposition, reversal and read position), RESO draws its bands on the frequency scale with their ring-out past END, LOOP turns the waveform with ROTATE and marks the seam, the XFADE curves and the LAYER taps, DELAY / PINGPONG mark their repeats (top / bottom for left / right), and REVERB shades its tail.
  • RESO now spreads its bands across the stereo field (root centre, the rest alternating left / right), rings out loud at high DECAY (the wet is lifted and soft-clipped) and reaches longer ring times; its bands are drawn as glowing lines with the root's note name.
  • LOOP's waveform preview renders the actual turned, seamed and stacked result.
  • SPRAY's grains follow the GRID (one step long, back to back) instead of GRAIN's SIZE; the seed re-rolls on the POSITION push (Encoder 4).
  • Click-free auditioning: DELAY / PINGPONG crossfade to a new TIME and smooth FEEDBACK like the master delay, MIX changes on RESO / DELAY / REVERB are smoothed, the dry level ramps into a tail instead of stepping at END, and stopping the audition fades out over 10 ms.
  • Looped audition dips briefly through the loop point (about 5 ms each side) so the wrap never clicks; APPLY is unaffected.
  • SHIFT + Track 5 opens a new DIST page. CRUSH (from EDIT) and COLOR (from FX) moved there, and the remaining groups on those pages closed the gap (CROP / PITCH / FILTER are now Track 4 / 5 / 6, DELAY / PINGPONG / REVERB / LOOP Track 1 / 2 / 3 / 4).
  • New groups: TAPE (the Master FX tape saturator, DRIVE / DENSITY / MIX), AMP (GAIN / TONE / CAB with CLEAN / CRUNCH / FUZZ models), FOLD (a wavefolder: FOLD / SYMMETRY / SMOOTH) and RING (a ring modulator: FREQ / MIX / WAVE). The waveform shows the distorted result while un-applied.
  • AMP gained a METAL model (tight, two hard stages, scooped mids); the model cycles on the GAIN push. RING's WAVE turns only (the redundant push is gone). TAPE is far more aggressive than the mastering version: DRIVE adds pre-gain and a second saturation pass above 50.
  • AMP and FOLD hold the level (the output envelope follows the input's), so GAIN and FOLD add harmonics rather than volume and the result pastes back at the copied level.
  • SCALE offers the church modes (Dorian, Phrygian, Lydian, Mixolydian), Phrygian dominant, harmonic minor, minor pentatonic, blues and whole tone in addition to chromatic, major, minor, major pentatonic, fifths + octaves and single.
• FR: Clipmod Visual Lines Add To Stutter / Shuffle
  • Audio Clipboard Modifier REVERSE group: while un-applied, SHUFFLE draws a thin line at every slice boundary with the number of the source slice that plays there, and STUTTER draws a dashed line at every repeat. With both active the slices repeat inside each stutter tile, exactly as they sound
  • Lines that would be closer than a few pixels are skipped so the overlay never becomes a solid block; zooming in brings them back
• FR: Clipmod - Double Shift+Play To Jump To Start Of Clip
  • Audio Clipboard Modifier: SHIFT + Play still jumps to START; pressed again while the playhead sits on START (or has just restarted from it during audition) it jumps to the start of the clip. Two presses go from any edit straight to a full review of the clip. The main screens are unchanged
• FR: LFO Automation - To not draw lines in between blank automation sections
  • The Audio Edit LFO no longer connects to the automation before or after its marker region. Earlier automation used to ramp straight into the LFO's first node across any blank space in between (and the exit node ramped out to the next later point); the region is now its own section, and the lane reads the fader between it and its neighbours, as after clearing a region between markers
• FR: Toggle Edit key selection on/off in waveform edit view
  • Audio Edit: pressing Track 7 again while in Region Editing switches the START / END selection off — the track draws all bright, the encoders read -, playback runs past the End and SHIFT + Play is the plain transport jump, so an edit can be reviewed in context without leaving the view. Turning START, END or SLIDE brings the selection back exactly as it was (the first click only restores it); pushing START / END brings it back with that end on the playhead; Track 7 toggles it on again. Cut / Copy show NO SELECTION while it is off
  • MIDI Edit: the same on Track 2 in the Edit view, with Encoders 4 / 5
  • Entering Region Editing / the Edit view or the screen always starts with the selection on
• Screen Filtering and Colour Temperature
  • Utility Encoder 7 now cycles THEME → SHADER → TEMP. SHADER grew from ON / OFF into a list of display filters built into the firmware: OFF, BLOOM (the horizontal glow — what ON used to be), CRT (phosphor glow, soft scanlines, brightness kept, shaded corners only), SCANLINE (the lines and corners without the glow), SOFT (a light anti-aliasing blur) and SHARP (unsharp mask for crisper text and edges). CUSTOM runs your own bin/static/bloom.glsl from the SSD and only appears while that file exists. Every filter is a single pass costing no more GPU than the existing bloom, and all keep the colours the interface uses to carry information
  • TEMP sets the display colour temperature from 6500 K (neutral) down to 2500 K in 500 K steps. It warms whichever filter is active, OFF and CUSTOM included, for long sessions and dim rooms
  • Changes apply about half a second after the last click, so turning through the list does not restart the screen compositor on every step; the restart itself flickers briefly. Existing settings keep their behaviour: ON reads as BLOOM, OFF as OFF, at a neutral 6500 K
  • Track8 hardware only — the companion app stores the setting but shows no filter
• FR: Clipmod FX - Add "Fade in/out" type control to add Filter and Pitch sweeps
  • PITCH and FILTER: pushing FROM / START copies the other end's value onto it, pushing TO / END does the reverse, so a sweep becomes a static repitch or filter in one press.
  • Audio Clipboard Modifier: two new groups, PITCH on Track 6 and FILTER on Track 7. Both work on the START/END region, audition live while playing, and commit destructively with APPLY like every other group
  • PITCH: FROM and TO (±24 st, SHIFT = 0.1 st) bend the pitch smoothly across the region without changing its length; CURVE shapes the ramp (LIN, or eased either way). FROM = TO gives a static repitch
  • FILTER: one filter node sweeps its cutoff from START to END (20 Hz–20 kHz in octave steps, SHIFT = 1/12 octave) with Q; push Encoder 6 to cycle LP / HP / BP. START = END gives a static filter
  • Un-applied sweeps are drawn as a line over the waveform so the ramp is visible before committing
• FR: Automation and/or clipmod LFO
  • Audio Edit: push Encoder 4 on an automation lane (Volume, Pan, TrackFX, Return) to generate a tempo-synced LFO into the region between the surrounding Markers; it is written into the lane live, so you see and hear it while dialling
  • In LFO mode Encoder 4 picks the shape (SINE, TRI, SAW DN, SAW UP, SQUARE, S&H), Encoder 5 the RATE as a note value (starts at the current GRID, push shifts the phase by 90°), Encoder 6 the DEPTH in percent
  • The lane's value at the region start is the resting level: Volume and Return Level dip down from it, other lanes swing around it. Push Encoder 6 to switch it to DELTA, which shifts the whole LFO up or down. Push Encoder 4 again to commit; any other action (moving the playhead, Play, touch, changing track or lane, leaving the screen, UNDO) commits first. The whole LFO is one UNDO step
• FR: Scroll Sound for Shift+Play
  • With SCROLL SND enabled, SHIFT+Play now voices the jump: a short (~240 ms) fast-wind sweep from the old playhead to the target
  • The sweep's loudness traces the waveform of the material it flies over, and longer jumps sound faster; it also plays for SHIFT+Play region jumps in the audio editors
• FR: loop cut copy paste -to include cut points
  • A Marker sitting exactly on the loop end bracket now travels with LOOP + Cut/Copy/Paste too — it lands on the destination's end bracket (a Marker already sitting there keeps its place). Cut still leaves it on the tape, since it equally marks the start of the untouched section behind the loop
  • Undo after a LOOP Paste now takes the pasted Markers back in every case. Before, a section without MIDI events (or without audio) left the Markers behind: the two halves of the paste could only be undone together when both had something to revert
  • LOOP Paste writes back every copied MIDI track: a track that was silent in the copied section now clears its destination span, the same way the audio side pastes silence there. Tracks muted at copy time are still left alone
  • Mute every track, audio and MIDI, and LOOP + Copy/Paste moves just the Markers of a section; Undo reverts them
  • Once the two halves of a LOOP edit have come apart (one side edited since, or one side had nothing to revert), the Markers now go back with whichever half is undone first
  • LOOP + Cut/Copy/Paste is now the arrange gesture: it works on all unmuted audio and MIDI tracks over the loop region, pastes each track back in place, and takes the markers inside the loop along. Set the loop around a verse with its chord-change markers, tempo changes and MIDI events, LOOP + Copy, move the playhead, LOOP + Paste — all of it lands together, nothing to re-enter by hand. LOOP In + Out together still snaps the loop to the surrounding marker bounds.
  • Markers keep their distance to the loop start in real time, so they stay aligned with the pasted audio even across a tempo change. Paste replaces the unlocked markers in the destination span, just as it replaces the audio and MIDI there; locked markers and markers with a tempo / signature change or MIDI event stay. Cut removes the unlocked markers inside the loop. The ▶ start flag is never copied.
  • One Undo (UNDO Audio + MIDI) reverts audio, MIDI and markers together; Redo puts them back. Overlays read Copy Loop: Audio + MIDI + Markers / Cut Loop: Audio + MIDI + Markers / Paste Audio + MIDI + Markers.
  • Replaces two v1.2.1 gestures, as agreed on the issue: AUDIO + MIDI + Cut/Copy/Paste (the marker region can never contain markers, and the two-button chord was awkward to hold) and the single-track LOOP + Cut/Copy (mute the other tracks instead). Plain Cut/Copy/Paste between markers — per track, per domain, SHIFT for all tracks — is unchanged.
• Export function to a track should ask permission before overwriting existing track
  • Fixed the EXPORT TO TRACK dialog getting stuck with no way to answer it: while a confirmation dialog is open, every other control (screen switches included) is now locked, so the dialog can no longer be orphaned with nothing able to close it
  • Confirmation dialogs (EXPORT TO TRACK, project/file delete, tape truncate, ...) can now also be answered by tapping the on-screen Cancel / accept buttons
  • Touch no longer falls through to the screen underneath while any dialog or progress overlay is open
  • Bouncing to a track now asks for confirmation before it overwrites the destination track: EXPORT opens an "EXPORT TO TRACK" prompt naming the track, OVERWRITE (Track 6) goes ahead, Cancel (Track 3) leaves the track as it is
  • Encoders and other buttons do nothing while the prompt is open, so the destination cannot change underneath it
• FR: Big Time to show cut point names
  • BIG TIME now also shows the cut points: between the time and bar-beat readouts it displays the name of the marker the playhead is in, the next one, and a progress bar with a bars:beats countdown to it — name your markers after chords or sections and read the changes from across the room
  • Unnamed markers show as their number (M: 3); after the last marker the next slot reads M: - and the countdown --:--
  • Fixed short UI freezes with BIG TIME on during playback (first at marker crossings, also in the first seconds of the readout): the startup glyph warm-up did not cover the big display's outlined text, so its characters were rasterized mid-frame on first appearance
• Splice (Time Editing)
  • Undo of a splice now also restores the cut points, loop and punch points to where they were — previously only audio, automation and MIDI came back and the markers kept their post-splice positions
  • Fixed a freeze where a background operation's "done" signal could be lost, leaving its blocking overlay stuck on screen with all controls dead until a power cycle
  • A background operation finishing can no longer silently dismiss an unanswered confirmation dialog
  • If the tape engine ever becomes unresponsive again, the device now logs which operation it was stuck in, so the next report can be pinned to a code path
  • A staged SPLICE is now discarded by any button press (PLAY included) and by turning Encoder 1 (grid) or Encoder 8 (scroll) — only Encoder 5 itself and SHIFT leave it alone. Before, most buttons and scrolling kept the staged amount
  • Nothing on the tape changes until Encoder 5 is pushed; there is no audible preview, the overview drawing is the preview
  • New SPLICE on the Audio Overview and the MIDI Overview: in SCROLL mode, Encoder 5 stages blank time at the playhead, one SCROLL step per click (turn right to insert, left to remove); push Encoder 5 to apply. A band shows the staged span, switching screens discards it.
  • One splice moves everything behind the splice point like a tape splice: all 8 audio tracks and their automation, all MIDI tracks, and the markers, loop and punch points (locked and tempo markers included).
  • Removals are limited to 1:30 per splice and are fully undoable; one Undo reverts audio, automation and MIDI together (markers keep their post-splice positions). Long operations show a live SPLICE n% progress overlay.
  • Together with the clipboard this gives Paste-Move (insert blank time, paste into it) and Cut-Move (cut, then remove the empty span).
• FR: Cut/Copy/Paste Operations: Solo track to be recognized as "only unmuted track"
  • A soloed track now counts as the only unmuted track for every multi-track edit: SHIFT + Cut/Copy on the Audio Overview, Audio Edit, MIDI Overview and MIDI Edit, LOOP + Cut/Copy, and the automation copied along with them
  • MIDI Edit: SHIFT + Cut/Copy now also works in the Edit-tools view, taking the edit region from all unmuted tracks (it already did in the Note, CC and Pitch Bend views)
  • Audio and MIDI solo are independent — each side is judged by its own solo/mutes, as before
  • The "Bounce N Tracks" paste prompt counts the same way
• FR: bpm detection from trimmed audio clips
  • Marker edit screen: hold SHIFT for the FIT layer on Encoder 1 — turn to declare how many bars lie between this marker and the next one, push to set the tempo that makes the span exactly that long (the tempo / time signature change switches on). Set the time signature on Encoders 2/3 first; the result keeps one decimal
  • APPLY also moves the next marker onto the downbeat of bar N + 1, so a marker set by ear stays on its beat once the tempo before it changed
  • No time-stretching: the audio stays as recorded, the grid, MIDI, MIDI Clock and metronome follow the new tempo
• Auto channel for midi cc's
  • MIDI Remote Control mappings can now follow the selected track — a nod to the auto channel on Elektron boxes: map a set of knobs once, and they control whichever track is selected on the Track8. Press a track button (or a mapped Select pad) and the same knobs tweak that track
  • UTILITY → MIDI → CONTROL → ADD / EDIT: on the Audio Overview and Track Mixer the ENCODER pill now goes past 8 to SEL (the selected track's encoder); on Track FX and Track Sends a new TRACK pill on Encoder 8 chooses SEL or a fixed track 1–8. Keeping the follow set on its own MIDI channel (e.g. 16) keeps it apart from a fixed fader bank
  • The manual editor now offers the function picker on every screen: per-node Frequency / Q / Gain (N1 FREQ … N4 GAIN) and Attack / Sidechain on Track FX, Volume / Pan / sends on the Track Mixer and External Channels, the Master FX and Mastering pickers. Before, a manually created Track FX mapping drove whatever mode the encoder happened to be in
  • SAVE / REPLACE in the mapping editor moved from Track Button 7 to Track Button 8, under its new eighth column
  • Mappings learned by holding an encoder are unchanged and stay locked to the track (and filter node) selected at learn time; edit one in CONTROL and set TRACK to SEL to make it follow
  • The mapping list shows the binding, e.g. Audio Overview / Enc SEL / Volume, Track Fx SEL / Enc 2 / N1 FREQ, Track Fx Track3 / Enc 2 / N1 FREQ — Track Sends rows now show their track too
• Dedicated start from here marker ..
  • A marker can now be flagged as the start marker: in its edit screen, turn Encoder 8 to switch the flag button from the lock to ▶, then push Encoder 8 (or touch the button) to set it. While a start marker exists, SHIFT + Play always locates to it — whatever SHIFT PLAY in Utility is set to — so repeated takes of the same section start from the same spot every time.
  • Only one marker can carry the flag; flagging another marker moves it. The start marker shows a ▶ in its head and a > before its label on the overviews.
  • The SHIFT PLAY setting (Utility and the Quick Settings tile) reads START MKR while it is overridden and returns to START / MARKER 1 as soon as the flag is removed or the marker is deleted.
• secure lock markers and time signature changes
  • The marker lock is now a true lock: a locked marker (and every marker with a tempo or time signature change) can no longer be deleted by pressing the Marker button next to it — before, only SHIFT + Marker (clear all) respected the lock, so setting a new marker too close to a locked one silently removed it.
  • Markers that send MIDI events (TRANS / PROG) count as locked as well, exactly like tempo / signature markers: they show the *, survive SHIFT + Marker, and can only be deleted once the MIDI event is set back to -.
  • A Marker press near a locked marker shows a short MARKER LOCKED notice and changes nothing; unlock the marker in its edit screen (or switch its tempo / signature / MIDI event off) to delete it. SHIFT + Marker still clears all unlocked markers at once.
• FR: Incorporate Theme Editor to Mac App
  • Companion app (Mac / iPad): new theme editor behind the 🎨 button in the bottom-right corner. Every themeable color is listed by name and group, and each change is applied live to the rendered Track8 screen — switch views on the device to see exactly which elements a color affects, no more guessing from three static previews.
  • The editor starts from the currently selected theme (DEFAULT included). SAVE stores it under a name of your choice and selects it (it appears under Utility → THEME like any other theme); REVERT discards unsaved changes.
  • EXPORT shares the app's theme.json via the system share sheet — a drop-in replacement for the bin/theme.json on the hardware. IMPORT merges a theme.json from Files (e.g. from the web theme editor) into the app's theme list.
• Take comping
  • Multi-take sessions can now be comped. While auditioning takes (or stopped between passes), the marker button sets comp markers that split the take region into sections; press it near a marker to remove it, SHIFT + marker clears them all.
  • With the playhead inside a section, a Track Button picks the take for that section only. Each section is labelled with the take it plays, and the take row follows the section under the playhead.
  • While comping, the Audio Overview dims everything but the take's track and region, and the tape markers are hidden so the comp markers stand out.
  • Committing (exit Punch, or RECORD to keep recording) stitches the sections together with a short 10 ms crossfade at every comp marker — the audition and the committed audio are rendered identically.
  • Comp markers live with the take session (not saved with the project); a new pass keeps the markers and starts every section on the new take.
• SHIFT + Encoder 6 in Utility to reverse order of functions
  • New Quick Settings panel: touch and hold the track area of the Audio or MIDI Overview (about a second) to open a panel of icon tiles for the everyday Utility toggles — VIEW (MKR LEG, MOD HI, BIG TIME, SHIFT HOLD), NAVIGATION (SHIFT NAV, TIMED JUMP, SHIFT PLAY, PASTE JMP) and SOUND & RECORD (SCROLL SND, TAPE SND, OVERDUB) — plus a CLIPBOARD shortcut that opens the Audio Clipboard Modifier. Every one of Encoder 6's functions is one touch away instead of up to six pushes.
  • Touch a tile to switch or cycle it; touch outside the tiles to close. Buttons and encoders close the panel and still do their normal job. A short tap on the tracks behaves as before, and every setting stays on the Utility screen as well.
  • BIG TIME is also toggled by touching the time / beat readout at the bottom of the Audio or MIDI Overview (from T 00:00 over the streaming indicator to B 01:01) — right where it shows.
  • Track Mixer: touch a strip's VOLUME / PAN / D / R box to make it the encoder's active parameter in one go, instead of pushing through the list. In the full-meter view, touching the value box cycles the parameter.
• FR: Midi - Shortcut Loop + cut/copy/paste
  • Hold LOOP + Cut/Copy/Paste now works on the MIDI Overview as well, the same as on the Audio Overview — see the entry for #299 above for what the combo does: it arranges the loop region across all unmuted audio and MIDI tracks, markers included, and leaves the loop on/off state untouched.
  • Themes now reach everything: Settings values (BPM, COUNT IN, OVERDUB, …), modals, browsers, the tuner, MIDI utility screens, the on-screen keyboard and the FX node dots used to be hardcoded white/grey and ignored the theme's text colors — they follow settingsTextColor / settingsMutedTextColor now. The screen's black header/footer/side bars got their own key, frameColor (default black, so existing themes look exactly as before).

Fixes

• metronome sound
  • With Track8 as MIDI clock master (SEND CLOCK + SEND TRANSPORT), the first metronome click after pressing Play no longer sounds sharper or "ringing". Track8 briefly holds the tape until the next MIDI clock tick so the slave starts on the downbeat; during that hold (up to ~20 ms at 120 BPM, longer at slower tempos) the click restarted many times per second, which was heard as a short pitched buzz in front of the first tic. The click now stays silent during the hold and sounds once, together with the tape and the MIDI Start
• Screensaver bug???
  • Standby no longer dims the screen again the moment a remote transport stops. MIDI Start from a controller woke the screen, but the inactivity timer had not been reset, so the matching MIDI Stop dimmed it straight away until a button on the Track8 was pressed. Playback and recording now count as activity: the timeout counts from the stop, whether the transport was stopped on the device or over MIDI
• 1.2.2 - Automation LFO - Missing "End Nodes"
  • The Audio Edit LFO now finishes its last cycle before the region ends. A region that was an exact number of cycles long (e.g. 1 bar at 1/4) used to lose the final SAW DN / SQUARE / S&H step and drew a straight line towards the exit level instead.
  • Regions cut mid-cycle end the partial wave at its exact phase, and smooth shapes no longer ramp over the last node spacing.
  • Pan, Return Mix and TrackFX LFOs now return to the resting level (the lane value at the region start) at the region end, as the manual describes, instead of ending at the top of the swing.
  • They also start there: on those lanes SINE, TRI and SAW UP now rise from the resting level first and SAW DN falls from it first, instead of every shape starting at the top of the swing (SQUARE and S&H still begin at the top). The phase push counts from that start, so one push is the peak, two the centre falling, three the trough.
• BR: 1.2.2 - Sometimes tape sound delays instead of wind up on play
  • Pressing PLAY right after a long jump no longer adds a silent spin-up pause on top of the disk-streaming wait: when the audio around the new position is not streamed in yet, the tape now starts plainly (with the start thunk) instead of holding the tape down for a wind-up that could not sound
  • The wind-up still plays whenever its material is already streamed in — including normal stop/start and short jumps
• 1.2.2- start marker visual issue - very minor bug
  • The start marker's ▶ badge is now a solid, centred black arrow — the label background no longer paints over its tip, and the redundant > text prefix (which overlapped the badge) is gone
  • The ▶ flag icon in the marker editor is centred the same way
• Start marker resets
  • Fixed the ▶ start marker losing its flag whenever another marker was edited: applying the marker editor on a non-start marker silently cleared the start flag project-wide
• Audio / MIDI Overview: timeline zoom
  • In SCROLL mode, Encoder 7 zooms the overview timeline from 0.25x to 4x around the playhead (Encoder 8 keeps scrolling, Encoder 5 stays SPLICE)
  • Audio and MIDI Overview remember their zoom independently; both start at 1x after a restart
  • In SCROLL mode the Audio and MIDI Overview beat ruler now draws the selected scroll increment as shorter ticks between the beats, like the grid on the Edit screens
  • On Audio Edit, switching Encoder 2 to ms steps (JUMP) hides the sub-beat grid ticks — they only reflect the musical grid, not the ms scroll step

Other

• The LFO phase value (SINE 90 on the Audio Edit LFO and the Audio Clipboard Modifier MOD page) and the 0 marker-navigation overlay no longer end in an empty box: the display font has no degree or plus-minus sign, so the values are shown without them
• Marker editor: Encoder 8 now follows the push-cycled encoder convention used everywhere else — push switches the flag button between the lock and the ▶ start flag, turn sets the shown flag (up = on, down = off). Touching the button still toggles it. Before, turn selected the flag and push toggled it
  • Marker editor: the ^ push caret is now shown where the manual promises it — Encoder 1 (push switches the tempo / signature change on and off, or takes the FIT tempo with SHIFT), Encoder 6 while it edits a program change (PROG / BANK), Encoder 7 (push returns to the regular colour) and Encoder 8 (push switches lock / ▶)
• Audio Clipboard Modifier pages (GRAIN / MOD / FX)
  • SHIFT + Track 1–7 now selects a page of groups; the original modifier is the EDIT page. While SHIFT is held the track-button row shows the page names, and the current page is shown at the top left of the waveform ([EDIT], [GRAIN], [MOD], [FX]). The modifier reopens on the last page and group.
  • GRAIN page: GRAIN (tempo-synced granular resynthesis with SIZE / RATE / CONTOUR and FOLLOW / HOLD), SPRAY (per-grain position, scale-quantised pitch and reverse randomness with a re-roll push) and RESO (a resonant filter bank tuned to a scale, with SLOPE / DECAY / MIX and a ring-out into the rest of the clip).
  • MOD page: VOL / PAN / PITCH / FILT LFOs printed over the region (RATE as a note value, DEPTH, six shapes, push to advance the phase), traced over the waveform while un-applied.
  • FX page: COLOR (DRIVE / TILT / COMP with a LOW / MID / HIGH crossover), DELAY, PINGPONG and REVERB printed into the clip with their tails, and LOOP tools (ROTATE the loop by grid steps, XFADE the seam, LAYER a circular canon).
  • SHIFT + Encoders 1–3 set the SCALE, SPAN and ROOT that SPRAY and RESO use; they persist like the GRID resolution.
• Audio Edit: automation curves and Marker legs no longer draw over the value bar on the left (min / centre / max labels) in the Volume, Pan, TrackFX and Return views
• MIDI Edit: play the selected note
  • On the NOTE screen, Track 6 is now Play while Record is off: it auditions the selected note once on the track's output channel with its stored velocity and length (Delete is unchanged while Record is on)
  • The Add/Replace label on Track 5 is hidden while Record is off instead of shown muted
• Overview polish: marker legs and the modification highlight
  • MKR LEG: on the Audio and MIDI Overview the marker legs now stop at the track area, like the waveform, instead of running across the input/output meters and I/O indicators
  • MOD HI: no highlight while a multi-take session is open. Stopping a pass half way used to paint that span, and it stayed through take switching and comping; the kept take is highlighted once the session ends with punch off
• Marker edit screen: one consistent way to save
  • All changes made in the marker edit screen — label, lock, start flag, colour, tempo / time signature, MIDI events — are now applied together with the APPLY key (formerly SET LABEL), and EXIT discards all of them. Before, the lock took effect immediately while everything else waited for the key.
  • The APPLY key lights up as soon as something differs from the state the editor opened with, so pending changes are visible at a glance.