v1.2.4-SNAPSHOT

This snapshot release will be updated regularly with the latest changes.

26.10.2026

• Steadier MIDI clock and timing over USB
  • Clock, notes and everything else Track8 sends to USB MIDI devices now leave at their exact moment, as on the 5-pin output. Gear synced to Track8 over USB holds its tempo more steadily, also while dense MIDI is playing
  • Notes you record from a USB MIDI device now land where you played them, like on the 5-pin input; before, they came in a little late. If you set a MIDI REC OFFSET for a USB device, check it again
  • When Track8 follows the clock of a USB device (SYNC role SLAVE), it now takes over that device's tempo while both are stopped, not only once the other device starts
• Notes missing when recording long notes from a sequencer
  • When a sequencer plays the same key again before the previous note ended (long note lengths, as on the Hapax), the later notes were recorded empty and did not play back. Every note is recorded now; each one ends where the next one of the same key starts
• External Audio (>=1.1.0) - Compatibility
  • Elektron Digitakt, Digitakt II, Digitone, Digitone Keys, Digitone II, Syntakt and Analog Heat MKII in class-compliant USB audio mode: Track8 now tells Linux to keep their playback in step with their recording stream. Before, recording from the box worked but what Track8 played back through it came out distorted or at the wrong speed.
  • This is the fix other Linux users verified on these boxes; we could not try it on one ourselves. If you own one, plug it in, pick it under SOUNDCARD and tell us in the issue whether playback is clean. The first start after the update takes a moment longer while the USB audio driver is set up.
  • Elektron Tonverk: playback through it no longer drops out for a few milliseconds every few seconds (heard as a crackle). It now gets the same treatment.
• New test setting: Track8's own audio engine
  • Utility → Debug, Encoder 8 (AUDIO ENGINE): turn right for DIRECT, left for JACK (the default). The audio restarts when you switch.
  • DIRECT runs Track8's audio without the JACK audio server in between. In our tests it gave far fewer dropouts on USB interfaces, especially at small buffer sizes.
  • With DIRECT, every buffer size from 48 to 144 is available on the built-in soundcard and on USB interfaces (USB interfaces otherwise only offer 96 and 144). Switching back to JACK moves the buffer to the nearest size JACK offers.
  • The latency is the same as with JACK at the same buffer size, so your REC OFFSET stays valid.
  • This is a test setting: if you try it, tell us how it runs with your interface and buffer size. If anything sounds wrong, switch back to JACK.
• Recording on a USB interface in MULTI mode with no track armed
  • Track8 records the selected track in that case, from that track's input. It kept playing its old audio while the new take was recorded over it and stayed green; it now goes silent and turns red while recording, like an armed track.
• Arming tracks on a USB interface
  • Any track can now be armed, also one without an input, and a track stays armed when you remove its input. A track without an input records silence.

25.10.2026

• Missing notes when recording MIDI from sequencers and drum modules
  • Recording MIDI from many sequencers, drum modules and 5-pin devices (the Hapax among them) lost notes and could leave silent notes behind when you stopped. All their notes are recorded now
  • A key played again before it was released no longer swallows the first note: it ends where the new one starts. A note that arrives twice at once (MIDI coming back through a loop) is recorded once

24.10.2026

• Doubled MIDI after unplugging a USB MIDI device
  • Unplugging a MIDI-only USB device (a controller, a keyboard without audio) could make the devices plugged in after it send everything twice: doubled notes in recordings and doubled echo, and a device set to IGNORE or CTRL could still reach your MIDI tracks. Each device is now connected exactly once, whatever you plug in or out
• Manual MIDI routing per device (expert)
  • For bigger MIDI setups each device now has a ROUTE page: UTILITY → MIDI → DEVICE, then Track Button 7. Choose whether a device is recorded, which of its channels count, whether your playing on it is echoed to all devices, to the others only, or nowhere, which track channels it hears, and whether its clock can drive Track8
  • Clock and MTC can go to different devices: keep SYNC MODE on CLOCK and set one device (a DAW, a video player) to MTC, or the other way round. A device never gets both
  • Nothing changes until you open the page. A device set up there shows [ROUTE] in the device list, and RESET puts it back
  • Works the same in the companion app on Mac and iPad, for USB and Bluetooth devices and other apps

12.10.2026

• MIDI plays every note under varispeed
  • With varispeed on, MIDI tracks lost notes: slowed down, about one note in four never reached the synth; sped up, even more went missing. Every note, controller and pressure change now plays at any varispeed setting, and MIDI clock, MTC and marker program changes follow the tape too.
  • MPE instruments such as the Osmose were hit hardest, since a lost note start leaves the voice silent. A track that sounded patchy only in one project was most likely playing with varispeed on.
  • The companion app plays every note under varispeed too.
• Five metronome sounds, and your own
  • Utility Encoder 4 (CLICK) picks the metronome sound. WOOD is the click you know; BEEP, RIM, BELL and LOW are new, each for a different situation (see the manual). They all play equally loud, so the metronome level stays where you set it.
  • Push the encoder to hear the selected click, also while the tape is running.
  • USER plays your own bar and beat clicks: replace bin/static/tic.wav and toc.wav on the SSD in USB-disk mode, and Track8 uses them from the next start.
• MPE in the companion app
  • MPE works in the app as on the hardware: flag your MPE controller's port MPE on the DEVICE screen and its notes are recorded with their bend, pressure and timbre; a track set to the MPE device plays into it, one channel per note. USB and Bluetooth instruments both work.
  • For MPE synth apps and AUM, the app has a second MIDI device, Track8 MPE. Subscribe the synth to it and set the track's channel to MPE Track8.
  • An Osmose is set up by itself in the app too, as on the hardware: sound engine becomes MPE and its play, haken, daw control and din interface ports IGNORE. Before, the app did not recognise it, and the editor traffic on its haken port could cut every sounding note. If you flagged the Osmose by hand in the app, your flags stay and its sound engine now plays on the channels it actually answers on.
  • Recording MIDI in the app now works like on the hardware: pitch bend and pressure are recorded, REC OFFSET and record quantize apply, and a key held when recording starts begins with the take.
  • Devices flagged CTRL or IGNORE no longer receive the app's MIDI (clock, notes, thru), as on the hardware, and a port set to IGNORE is not listened to either, its clock and transport included. If a controller stopped hearing the app's clock, check its flag on the DEVICE screen.
• Companion app: MIDI timing and Mackie Control
  • MIDI you play into the app is recorded exactly where you played it and echoed with the timing you played it with; before, notes could land up to a screen refresh late. If you set a MIDI REC OFFSET in the app, check it again.
  • Mackie Control surfaces (X-Touch, X-Touch One and others in MC mode) work in the app as on the hardware, over USB or Bluetooth: flag them MACKIE on the DEVICE screen and their faders, buttons, LEDs and displays follow Track8.
  • MIDI thru in the app works like on the hardware: what you play goes out again to every device, the keyboard you play included. A keyboard with local control off and an MPE instrument such as the Osmose now hear themselves through the app. If your keyboard synth now plays every note twice, switch MIDI MON off on the Settings screen (or set the keyboard's local control off).
• MIDI Edit: changing a selected note works again
  • In NOTE mode, pushing Encoder 3, 4, 5 or 6, turning it and pushing again changes the note's start, length, velocity or pitch again. Since the MPE update the turns were lost and the note stayed where it was; SHIFT + turn was not affected.

11.10.2026

• Visual cues: pictures where Track8 is busy or where you are
  • The USB Browser shows a USB stick in the left column: large at the root of the stick, filling up with the used space, small once you are inside a folder. One look tells the USB Browser from the Project Browser's disk shelf.
  • Long operations show a picture under the title of their overlay: a hard disk whose head follows the progress while exporting, saving a WAV / MID or backing up, a floppy rising into its drive while a project loads or is saved as new, stick → floppy for an import, tape reels for EXPORT TO TRACK, a turning arrow while undo, redo or a clipboard operation runs. NO USB STICK FOUND shows the outline of the missing stick, SSD REPAIR REQUIRED the drive at rest.
  • Confirmations you cannot take back (DELETE, OVERWRITE, TRUNCATE) carry a red warning triangle beside their title.
  • More pictures where they say something: the TEMPLATES disk has a hatched sticker, the Tape utility shows the tape as two reels filling up to END, the Soundcard page shows a jack plug for the built-in inputs or a USB plug for an external card, each MIDI device shows its DIN socket or USB plug, and the AU rack in the app shows its rack units with the loaded slots filled.
• Project Browser opens on the current project
  • BROWSE now shows the disk your current project sits on with that project highlighted, instead of the first entry of the last disk you looked at.
  • Sliding back to that disk with Encoder 7 lands on the current project too. Every other disk still remembers what you had highlighted there.
• MIDI Device list: long names fit the box
  • A device name too long for the selected box (long USB names with [MACKIE] after them) is shortened with .. so the box always fits; the suffixes stay readable.
  • The list shows plain device names: the (out) JACK appends to every USB port is gone, and a disconnected device is only drawn muted instead of carrying (disconnected).
• FR: Midi MPE support
  • Track8 records and plays back MPE instruments such as the Expressive E Osmose: every note keeps its own pitch bend, pressure and timbre, and a track can play straight into the instrument, one MIDI channel per note. On the DEVICE screen a port can now be flagged MPE; on the MIDI Overview the CHANNEL encoder reaches the flagged devices after channel 16 (MPE Osmose).
  • An Osmose is set up the first time it is plugged in: its sound engine port is flagged MPE, its other four ports IGNORE. Set haken local control to off on the Osmose (it comes back on after every Osmose reboot) and play — what you play reaches the sound engine through the Track8 and is recorded with its expression.
  • A port can also be flagged IGNORE: Track8 neither records it nor sends it anything. Use it for ports that only carry editor or DAW-control traffic.
  • MIDI Edit shows a note's bend as a line leaving its row, its pressure as a band under the note and its timbre as dots above it. Moving, quantizing, copying or undoing a note takes its expression along. Per-note expression is not editable yet.
  • Tracks with expression are saved as standard MPE MIDI files, readable by a DAW.
• Audio Clipboard Modifier: no more shutdown after a rendered group
  • After auditioning a group that renders in the background (the SPECTR page, HARMONY, TUNE, the FX page's LOOP and CONVOLVE), Track8 kept rendering the clip over and over. Leaving the screen, or opening the USB browser for a CONVOLVE impulse, then filled the memory within a minute or two until Track8 shut down. The render now stops once the audition has what it needs, and closing the screen releases it.

07.10.2026

• Clipmod DIST > TAPE - pause when changing DRIVE / DENSITY / MIX while playing
  • Turning a TAPE (or AMP, FOLD, RING) encoder while auditioning no longer freezes the screen for a moment: the waveform now updates from the playhead outward over the next fraction of a second instead of redrawing all of it at once. The audio was never interrupted; the pause was the display.
• Clipmod EDIT > TUNE - audition silent after a turn
  • TUNE and HARMONY could render a whole pass as silence (and a blank waveform) when the render started at the very beginning of the region, which is where it starts after PLAY from the start or when the playhead passes the region's first second while you turn an encoder. Every pass now plays.
• FR: Browser folders (or labels)
  • Labels are now a shelf of floppy disks across the top of the Project Browser, one disk per label in its colour: UNLABELED, your labels, TEMPLATES and NEW DISK. The disk on show is the big disk in the middle; Encoder 7 slides the shelf, and the other disks shrink and dim towards the edges so you always see where you are. The disk's projects and the waveform preview sit underneath.
  • There is no ALL view any more: every project sits on exactly one disk, so nothing is hidden. Each disk remembers the project you had highlighted.
  • Encoder 7 push on a disk renames it, SHIFT + push deletes it (its projects move to UNLABELED), push on NEW DISK creates one. NEW and SAVE AS put the new project onto the disk you are looking at unless you pick another on the keyboard.
  • The browser, keyboards and messages say "disk" instead of "label" / "filter".
  • UPDATE (RENAME with the name left as it is) moves the project to its new disk right away; the next project on the current disk takes the highlight.
  • Templates are listed by name on their TEMPLATES disk; the TEMPLATE: prefix is gone.
  • NEW with a template highlighted starts the template picker on that template.
• Un-synced rates for clipmod FX
  • The Clipboard Modifier's rate and time encoders now follow Encoder 1: push it into JUMP mode and GRAIN SIZE / RATE, the MOD LFO rates, DELAY / PINGPONG TIME, STRETCH WINDOW, FREEZE LENGTH, BLUR TIME and the CHORUS / FLANGE / PHASER rates become free of the tempo — rates in Hz down to 0.05Hz (a 20 s sweep), times in milliseconds up to 20 s. Back on the GRID they step through note values again.
  • The push itself never changes the sound: the first click in the new mode converts the value (a note value into its Hz or ms at the current tempo, a free value onto the nearest note value in the direction you turn). A free value keeps its Hz or ms on screen until you turn it on the GRID, so you can see it is not synced.
  • On the GRID those encoders now reach four whole notes (4/1) at the slow end, like the Audio Edit LFO.
• Clipboard Modifier: LFO and sweep traces no longer alias when zoomed out
  • A fast VOL LFO (or any MOD LFO, CHORUS / FLANGE / PHASER sweep, and the MIDI modifier's LFOs) drawn over a long region used to turn into slow waves that were not there once its cycles got narrower than a few pixels. The trace is now sampled finely enough for its rate and, zoomed out until the cycles are narrower than a few pixels, drawn column by column between its lowest and highest value — the way the waveform itself is drawn — so what you see is the real shape and depth of the modulation at every zoom level.
• mute/solo improvements
  • Solo without leaving the FX screens: on Track FX, Track FX 2 and Track Sends, hold SHIFT + the Track FX key and press a Track button to solo that track — the same gesture as AUDIO + Track on the Overview. Press again to un-solo, another track moves the solo.
  • While SHIFT is held, the track-button row on those screens shows each track's state (3 SOLO, 2 MUTED), so you can see at once why an edit makes no audible difference.
  • The Track FX key now switches between Track FX, Track FX 2 and Track Sends when you let go of it rather than on the press, so the held key can solo. Entering Track FX from another screen is as immediate as before.
• Onboard inputs with USB soundcard?
  • Track8's own XLR / line inputs can now be used next to a USB interface. The MON encoder on the AUDIO settings page is now HYBRID with three settings: OFF, MON (the main mix on Track8's headphone output, as before) and FULL, which also offers Track8's inputs as INT L / INT R on the TRK IN, SINGLE IN, insert return and EXTERNAL pages, listed after the interface's channels. A small 4-in / 4-out interface can give all four of its inputs to effect returns and still record a microphone on the XLR.
  • The two soundcards do not share a clock, so the Track8 inputs are matched to the interface's clock on the way in; they arrive a few milliseconds after the interface's own inputs and a recorded take is shifted by that amount automatically, on top of the track's REC OFFSET.
  • Turning HYBRID below FULL keeps a mapping that points at INT L / INT R but it carries no signal: the mapping pages show it in brackets and the track cannot be armed until HYBRID is FULL again. A saved MON setting from earlier versions loads as MON.

06.10.2026

• MIDI recording with count-in
  • Notes already on the track in the count-in bars are no longer erased when you record with a count-in (overdub off). Recording replaces notes only from the point where you pressed Play.
  • The selected MIDI track now plays during the count-in, so you hear what leads into your take.
• Audio Clipboard Modifier: CONVOLVE with a WAV from the USB stick
  • Push Encoder 4 (SOURCE) in the CONVOLVE group to open the USB browser, pick a WAV with Copy, and its first 5 seconds become the impulse — a guitar through a real room recording, a drum loop through a sampled spring. A single copied track is enough with a file as the impulse.
  • The impulse's own outline is now drawn between the START and END lines instead of a generic decay curve, and the source track is shown dimmed with a SRC tag.
  • Files you load stay in SOURCE's ring below the tracks while the modifier is open (the last eight, newest first), each with its own START/END, so you can A/B impulses by turning SOURCE.
  • Selecting CONVOLVE switches Encoder 1 to millisecond steps (JUMP mode) and restores your previous setting when you pick another group.
• USB Browser: AIFF files
  • The browser now lists and loads AIFF files (.aif / .aiff / .aifc) next to WAV and MIDI, for the clipboard and as CONVOLVE impulses. Files are recognised by their content, so an AIFF that was saved with a .wav name — as Logic's Space Designer impulse responses are — loads instead of showing a reading error.
• Audio Clipboard Modifier: groups sound as soon as you select them
  • GRAIN, SPRAY, FREEZE, BLUR, PEAKS and CONVOLVE used to play dry until you turned an encoder, although their encoders already showed a working setting. They now play with those settings from the moment the group is selected. WRITE BACK still works on such a group as long as you have not turned one of its encoders.
• Mackie Control surfaces: zoom and timecode readout
  • The Zoom button on the controller latches: while it is lit, the cursor buttons zoom the overview in and out (Right / Up in, Left / Down out) instead of jumping between markers. Bank ◀ ▶ keep jumping between markers.
  • The time display's TIME format now reads like a timecode, 000.00.00.00, with the frames right after the seconds.
  • Held Rewind / Forward now wind at the same rate as the Track8's own Left / Right buttons.
• Mackie Control surfaces: scroll step from the controller, timecode readout
  • With the Zoom button lit, the cursor Up / Down buttons now make the scroll step finer or coarser (Left / Right still zoom), so the jog wheel can be set to move in bars or in sixteenths without touching the Track8.
  • The time display's TIME format shows two-digit hours, 00.00.00.00, as on a timecode display.
  • The Nudge button does what SHIFT + Play does on the Track8: it jumps to the start marker, or wherever SHIFT PLAY is set to go.
  • A fader pushed to the very top no longer shows -0.0 DB on the Track8 screen.
• Elektron Tonverk (and similar interfaces that combine MIDI and audio) selectable as SOUNDCARD
  • Track8 showed USB AUDIO CONNECTED but the interface never appeared in the SOUNDCARD list. It now does, with all its inputs and outputs, also when it was plugged in before switching Track8 on
• Mackie Control surfaces: finer bars/beats display
  • The BEATS time display now also shows the quarter of the beat and the ticks into it ( 12.03.02.120), so fine moves with the jog wheel can be read off the controller.
  • Nudge (SHIFT + Play) no longer leaves the track-name overlay on the Track8 screen.
• Streaming WAV import: files longer than 12 minutes
  • WAV and AIFF files longer than 12 minutes can now be imported from the USB stick: the browser shows LONG FILE and plays the first two minutes, Copy and Paste work as always, and Track8 streams the file onto the track with a progress bar instead of refusing it with Too Long.
  • A long import cannot be opened in the Clipboard Modifier and cannot be bounced; paste it and edit on the tape. Pasting one over more than 12 minutes of existing audio cannot be undone, and Track8 says so.
  • Pulling the stick while the clipboard refers to a file on it empties the clipboard, so a later Paste cannot fail on a file that is gone.
• The tape now has an end at 3 hours that respects the wav header limit
  • The beat ruler and the track lanes stop there on both overviews, playback and recording stop there, and locates never go past it. Anything pasted, recorded or spliced past the end is cut off, with a message. This closes a hole where a very long recording silently corrupted the track file.
  • Long pastes, cuts, clears, undos and redos (over a minute of audio) show their progress as a percentage.
• Progress bars
  • Every overlay that reports a percentage — exports, SPLICE, SAVE AS, backup and import of projects, loading a project — now draws a progress bar with the percentage under it.

05.10.2026

• Audio Clipboard Modifier: new CONVOLVE group on the FX page
  • Copy several tracks, pick one of them as SOURCE, and every other track in the clipboard is played through it — a snare through a piano chord, a voice through a reversed cymbal, a guitar through a recorded room.
  • Encoder 5 sets where the impulse ends in the source track (push it to move the start instead; up to 5 seconds), Encoder 6 sets MIX (push it for TILT, darker or brighter). Each convolved track keeps its own level, even at MIX 100 %. While the group is selected the source track is left out of the audition, so you hear only the convolved tracks; APPLY leaves it as it is.
  • Rendered in the background like the SPECTR groups: [RENDER] shows while it computes, and APPLY prints exactly what you heard.
• Move grid value encoders in main audio and midi screens to encoder 2
  • On the Audio and MIDI Overview in SCROLL mode, the scroll step (1/4, 1/16, ...) is now on Encoder 2, the same encoder as the grid on Audio Edit and MIDI Edit. Encoder 1 does nothing in SCROLL mode; Encoder 8 still scrolls, Encoder 7 still zooms.
  • A MIDI Control knob learned for the scroll step now also sets the grid of Audio Edit or MIDI Edit while one of them is open, like the zoom knob does, so one knob covers the grid on all four screens.
  • Step mappings learned on an older firmware are moved to Encoder 2 automatically. Nothing to redo.
• MOVE MARKER preview text
  • The MOVE <name> +2 beats - PUSH to apply text on the overviews is now drawn in the large outlined type of the mastering readouts and sits centred on Track 1's row, so it reads over the waveform.
• Clipmod - FX > Bitcrush renders to silence
  • CRUSH's BIT steps now follow the clip's own level instead of full scale: 1 bit turns the loud half of the clip into full blocks and the quiet half into silence, whatever level the clip was recorded at. Before, at 1 or 2 bits everything below -6 dBFS disappeared, which left most recordings silent after APPLY.
  • The audition now plays BIT and SAMPLE together the way APPLY prints them. Before, turning SAMPLE up made the audition drop the BIT crush, so what you heard was not what you got.
• Clipmod - Grain > Spray low ms low frame rate, DIST > TAPE low frame rate, EDIT > Stutter low frame rate
  • The modifier screen keeps its waveform while the playhead moves and only draws the part that scrolls into view. Before, every frame of an audition redrew the whole waveform from the audio, which with eight tracks and TAPE (or any group) on could pull the screen down to a few frames per second.
• Clipmod EDIT > TUNE - previewing sometimes goes silent
  • A TUNE (or any rendered group's) setting changed while the playhead moved could leave the audition stuck on the dry clip with [RENDER] showing until the next encoder turn. The render now always starts.
• Send MIDI time signature to external devices
  • New SEND TIME SIG setting on UTILITY → MIDI (Encoder 6, shown when Track8 is Clock master, off by default). When it is on, Track8 tells external gear the time signature (when playback starts and every time it changes at a marker) and the bar number (just ahead of every bar line), so a bar display or MIDI processor that counts bars from the clock shows the same bars and beats as Track8, in 5/4, 7/8 or across signature changes.
  • After a start in the middle of a bar, the external display is right from the next bar line on.
  • MIDI clock is never delayed by these messages. On the 5-pin output a clock tick can arrive in the middle of one, which the MIDI standard allows.
  • The receiving device has to understand the standard MIDI Time Signature and Bar Marker messages. Hardware Track8 only; the companion app shows the setting greyed out.
• MTC over USB
  • With SYNC MODE MTC and SYNC ROLE MASTER, Track8 now sends timecode over USB MIDI as well as the 5-pin output, so a computer or USB device can chase the tape. Before, timecode only left through the 5-pin output.
  • Nothing to set up: USB and 5-pin carry the same timecode. Where a device has to lock tightly, the 5-pin output remains the more precise one.
• Mackie Control surfaces
  • A controller that speaks Mackie Control (Behringer X-Touch, X-Touch One and others in their "MC" mode) now works without any mapping: on UTILITY → MIDI → DEVICE, press Track Button 8 until the device shows MACKIE.
  • Transport, loop, punch, metronome and marker buttons work and their LEDs follow the Track8. F1–F8 jump to the markers numbered 1–8, the jog wheel moves the playhead, and the time display shows bars and beats or time (switch with the SMPTE/BEATS button).
  • Faders set the track volumes and motor faders follow the Track8, including volume automation. The knobs set pan; Select, Mute, Solo and Rec work per track; the displays show track names, volume and levels. The master fader is the mastering OUTPUT.
  • Up to four such controllers can be connected at once, all showing the same eight tracks. A one-fader controller works on the selected track.
  • This is the first version. Tell us how your controller behaves, and which of its unused buttons you would like to do something.
  • The SEND TIME SIG setting from the previous snapshot is removed again: very few devices read those messages, and some hardware reacts badly to them arriving between clock ticks. The controller's time display replaces it.

02.10.2026

• 1.2.3 - Loop clipmod FX frame rate decrease
  • The Clipboard Modifier's LOOP group (FX page) is now rendered in the background like the SPECTR groups: [RENDER] shows for a moment after a turn, then the audition and the waveform switch to the result. LAYER on eight tracks no longer stalls the screen or the audio engine.
  • The rendered groups (SPECTR page, HARMONY, TUNE, LOOP) render around the playhead instead of the whole region at once. The first result arrives after about a second whatever the region length, a jump of the playhead renders from the new place, and a long region on eight tracks no longer eats memory or freezes the device. APPLY still prints exactly what the audition plays.
  • The Clipboard Modifier screen stays smooth while playing; the waveform is only redrawn when something it shows changes.
  • STRETCH and FREEZE can print a slightly different level (well under a decibel) than in 1.2.3.
• DIN MIDI input drops running-status messages: notes skipped on 5-pin, fine over USB
  • 5-pin DIN MIDI no longer drops notes from dense material on one channel (a 32nd-note snare roll with a kick in between). DIN now records the same as USB.
  • Recorded MIDI notes, from USB and DIN, land where they were played instead of up to a few milliseconds early.
  • Incoming DIN notes are no longer delayed by a busy screen.
• DIN MIDI output: steady timing from the first note after start-up. The output used to jitter for a few minutes after every start of the audio engine.
• App: Bluetooth Midi Clock Sync
  • The app no longer crashes when a MIDI device sends several messages at once (a clock stream, or a Start with clocks right behind it).
  • MIDI sync now works in the app, with the hardware's UTILITY → MIDI settings: MASTER sends clock, Start / Continue / Stop and Song Position (or MTC) to every connected MIDI destination; SLAVE follows any source, USB or Bluetooth (a WIDI paired through the app's own Bluetooth page included). An external sequencer now starts and runs in time with the app.
  • MIDI leaves the app on time, no longer tied to the screen refresh.
  • As slave, the tempo reads right over Bluetooth, which delivers clock in bursts (a 149 BPM master used to read 167). This also applies to the hardware.
  • As slave, a Start after a Song Position goes to that position instead of restarting at the previous bar. This also applies to the hardware.
  • MIDI thru in the app works like the hardware's: gated by MIDI MON, on the selected MIDI track's channel, and never back to the sender. Two Track8s synced over Bluetooth no longer echo each other's notes back and forth.
  • The app no longer floods its MIDI output with All Notes Off while playing, and a Stop sent together with a clock tick now reliably arrives over Bluetooth.
  • A device connected through the app's BLUETOOTH page now also receives the app's output (clock, transport, notes). Connecting starts the pairing an encrypted link needs; iOS may ask once.
  • The app no longer records All Sound Off / All Notes Off as controller events.
  • The app is a MIDI device of its own: Track8 shows up as a source and a destination in AUM, midiMittr and every other app. What apps send in arrives on a Track8 (apps) port on the DEVICE screen. While the transport runs, the app keeps playing, recording and sending MIDI when you switch to another app or lock the screen; stopped, it goes to sleep in the background like any other app.
• Navigating to empty folder (USB) goes to blank screen
  • An empty folder shows EMPTY FOLDER with the path and the EXIT labels instead of a blank screen.
  • .WAV, .MID and .midi files are listed, previewed and copied whatever their letter case.
• USB Browser: PASTE unavailable in the Companion App
  • Audio / MIDI PASTE is available in the folder picked in the system folder picker.
  • Browsing a WAV file no longer empties the audio clipboard (unless clipboard and file together would exceed the 12-minute cap).
• FR: Browser folders (or labels)
  • Projects can carry a label (up to 12 characters) that groups them in the Project Browser like a folder, without moving anything on disk. An empty label survives like an empty folder.
  • Encoder 7 FILTER: turn through ALL, TEMPLATES, your labels and NEW LABEL. Push on NEW LABEL creates a label, push on a label renames it everywhere, SHIFT + push deletes it (projects are kept). NEW inside a label gives the new project that label.
  • Encoder 7 on the NEW, SAVE AS and RENAME keyboards picks the project's label (--- = none). RENAME with the name unchanged reads UPDATE and only applies the label. Encoder 8 picks the label's colour; labelled projects show a > in that colour.
  • SHIFT + Encoder 8 in the Project Browser jumps by initial letter (JUMP A-Z).
  • The label rides along with RENAME, SAVE AS, BACKUP and IMPORT.
• "width" per channel
  • New page TRACK FX 2: press the FX key again while on Track FX (Track FX → Track FX 2 → Track Sends). Three stereo utilities per track, in signal order: CHANNEL, POLARITY, WIDTH. Track Buttons 1–3 switch them on and off.
  • WIDTH (Encoder 3): 0 % is mono, 100 % unchanged, 200 % the maximum width. It sits before Pan, so a stereo track can be narrowed to mono and then placed. Width can be automated (last entry of the Track FX list in Audio Edit).
  • POLARITY (Encoder 2): inverts L, R or L+R; Track Button 2 is the quick comparison by ear. Push Encoder 2 to pick a reference track: the meter then shows whether the two tracks add (green, upward) or cancel (yellow to red, downward).
  • CHANNEL (Encoder 1): L or R plays one side of the track on both channels, SWAP exchanges the sides.
  • All three are non-destructive, also act on monitored input and the individual track outputs, and are included in EXPORT MIX and EXPORT to a track. Copy, Paste and Bounce keep working on the audio as recorded.
  • Track FX 2 has its own clipboard, and MIDI Learn knows the page. Firmware 1.2.3 and older opens such a project and drops the Width automation lane.
• Inserts: INS SEND, INS RETURN and INS MIX on TRACK FX 2 (external soundcards)
  • The three faders of an outboard insert now sit together on TRACK FX 2, Encoders 6 to 8, in signal order, each with a level meter. Red on the INS SEND meter is real clipping at the converter.
  • New INS SEND (-24 to +24 dB) drives the gear harder or softer without touching the fader. If the sends feed an external mixer as individual outputs, it is the track's output level.
  • INS RETURN (was Return Vol) now runs -24 to +24 dB, so a quiet device can be brought up. INS MIX (was Return Mix) is unchanged. Both keep their automation.
  • Track Button 6 switches the whole insert on / off for a quick A/B. The send keeps feeding the gear while it is off.
  • Return Mix and Return Vol are no longer on the Audio Overview, and MIDI Learn mappings for them have to be learned again on TRACK FX 2 (the old ones do nothing; delete them in CONTROL).
  • Existing projects keep their values; a return below -24 dB now plays at -24 dB. With the internal soundcard the three slots read NO INSERT. COPY / CUT / PASTE on TRACK FX 2 covers the insert values.
• Project Browser: EXIT on the NEW, SAVE AS, RENAME and BACKUP keyboards returns to the browser instead of the Settings screen.
• Input keyboard: when editing an existing name, the confirm button lights up once something differs from what you opened with, like APPLY in the marker editor.
• Track FX compressor: the sidechain listens to the source track as recorded, before its Mute, Solo, Fader, Pan and effects. A muted track now works as a trigger: record a kick on a spare track, mute it, and duck another track with it. The source's fader and track number no longer change how hard the compressor works. Projects that use a sidechain can need a new Threshold.
• Track FX: Delay Send and Reverb Send no longer briefly read 0 at transport start, and a send changed while stopped takes effect right away.
• Track FX Filter and MasterFX2: the filters no longer add faint noise of their own at low-frequency settings (a 30 Hz High Pass, a low shelf). The filter curves are unchanged.
• Audio engine: fewer xruns and a smoother screen, on the internal soundcard and on USB interfaces. Metering, reverbs, compressors, MasterFX2, the Track FX Filter, WAV reads and writes, projects with a lot of automation, Audio Edit during loop overdubs, external soundcards with internal monitoring on, interfaces with many channels, and the display itself all take less processing time.
• Recording several tracks at once on an external interface no longer slows the audio engine down or runs the device out of memory after a few takes. The undo budget is now kept while a take runs; a very long multi-track take keeps only its most recent part undoable.
• External interfaces: BUFFER SIZE offers 96 and 144 only. USB audio travels in 1 ms packets, and the other sizes caused constant restarts of the audio server. An interface set to a removed size runs at the nearest offered one (64 / 80 / 112 → 96, 128 → 144). The internal soundcard keeps all sizes.
• SHOW LATENCY: Xruns now counts real dropouts only. The old count included harmless skipped cycles that could reach dozens a minute on USB interfaces without a dropout.