Live buffers

global

hardware	—>	action
`E1`	—>	switch between banks and Live buffers
`E2, E3`	—>	adjust on-screen parameters
`K3`	—>	switch between the global and local layers
`K1 hold`	—>	reveal alternate encoder parameters
`K1 hold + E1`	—>	switch encoder parameters
`K2 hold + K3`	—>	toggle recording

local

hardware	—>	action
`E1`	—>	move loop window
`E2, E3`	—>	adjust loop points
`K3`	—>	switch between the global and local layers
`K1 hold`	—>	zoom waveform
`K1 hold + E1`	—>	switch Live buffer
`K1 hold + K2`	—>	erase buffer content between loops
`K2 hold + K3`	—>	toggle recording

global layer encoder parameters

there are four primary encoder parameters on the global layer:

feed: how much previous material is retained with each pass of the record head
rnd prob: the likelihood that recording will be randomly toggled
mode: looping or one-shot behavior
total: manipulates the record speed to allow for 8, 16, or 32 second duration

loop or one-shot?

depending on your needs, each record mode holds unique possibilities.

loop mode

strengths:

un-clocked and flexible for creating soundscapes and weird delays
set-and-forget
rnd prob adds a lot of creative power, adding out-of-sequence captures of audio along a flat timeline

weaknesses:

not suitable for clocked recording
can become a morass with certain settings
can be hard to specify exact placement of incoming audio without also managing loop points

one-shot mode

strengths:

synced to the global clock for tight captures and easy flips
stops recording when the playhead reaches the end point
easier to manage exact placement of incoming audio (always starts at the start point)

weaknesses:

can be a bit rigid for unstructured play
requires a bit more thought about where to place new audio