Manual
Everything in Brusmaskin, explained. Tap ? in the app to get the same help in place.
The basics
Brusmaskin is an 8-track groovebox: every track plays a pattern of steps, each step triggers a sound from the project's pool, and patterns chain into parts, phrases and a full song. Everything happens in six views, switched with the pill bar at the top:
| TRK | Step editing — where beats and melodies are made. |
| SNG | The arrangement: patterns → parts → phrases → song chain. |
| PDS | Note pads and live recording; tap again for the performance swipe pads and phrase queueing (PRF). |
| PRJ | 64 project slots with colors — load, save, delete. |
| MST | Send effects (chorus, delay, reverb), bus routing and the mixer. |
| SMP | Sample banks: record your own (+ NEW), import files, browse archive.org, trim and slice. Tap it again to cycle the preset libraries — FM, MON, SUP, DRM, PLK and finally USR, your own saved presets — tap a preset to listen, ADD TO POOL to take it — the steps you place play it until you tap an existing step or pick another sound. |
▶ The play button starts playback: in TRK it loops the part, in SNG it plays the song (or loops a selected slot), in PRF it plays the queued phrase. Tap again to stop.
? Help mode. Turn it on, then tap anything — a parameter tile, a button, a fader — and the app explains what it does without doing it. This whole manual lives in your pocket.
BRUS Tap the logo for the info view — it opens on SYSTEM: the metronome (Pen Click; OFF / COUNT-IN / ALWAYS, with a count-in length), the PDS pad-grid size (3×4 up to 5×7 — more pads reach further up chromatically — when recording is armed, pressing play counts you in before the transport starts; the click is a monitor and is never recorded or exported), theme, dark mode and iCloud sync. The other tabs hold MIDI settings, project backup tools, EXPORT AUDIO — and six demo songs that load into the working area so you can pick them apart. An untouched demo never becomes a saved project — the moment you edit it, it's yours and saves like any other work.
Track view (TRK)
The active track is expanded into two rows of 8 big steps; the other tracks show as mini rows. Tap a track's handle to make it active. The ▼ button switches between tracks 1–4 and 5–8.
Step gestures
| Tap empty | New note (opens the instrument picker on a track that has no sound chosen yet, and keeps it open until you pick one). |
| Tap lit | Select the step — its parameters appear in the panel below. |
| Swipe up | Cut the step. |
| Swipe down | Paste the clipboard. |
| Drag sideways | Select a range. |
| Hold + drag | Multi-track selection. |
| Corner dot | The step carries per-step offsets (see Adjusting values). |
The toolbar
Above the grid: UNDO/REDO step the project history (a burst of tweaks counts as one step, ~40 steps deep). SNAP freezes the whole project — tweak freely, tap SNAP again to restore the frozen state exactly, or long-press to release it and keep your changes. While frozen, KEEP photographs the current variation as a new phrase at the end of the song chain — jam, KEEP, jam, KEEP, then SNAP back to the untouched original. PHR and SNG arm phrase and song mode: the play button then loops the whole phrase, or plays the song from the current part while you keep editing.
The bottom strip
The chip in the middle shows where you are; ‹ › browse. Tap the chip to cycle what they browse: PG = the 16-step pages of a long pattern (only shown when there is more than one), PRT = the parts of the phrase, PHR = the slots of the song chain. FLW follows the playhead across pages — the grid flips to the page being played.
Panel tabs
STEP = what this step plays · SOUND = the shared instrument · ACTIONS = copy/paste, clones, euclidean fills, randomize · TRACK = pattern settings (speed, swing, length, restart).
Each tab has its own row of pages: STEP holds TRIG·A/B, CHORD and ARP, SOUND holds OSC, FILTER, ENV, LFO and FX. Tapping the page you are already on flips to its next one (TRIG·A → TRIG·B, OSC·1 → OSC·2, ENV·A → B → C), and it remembers where you left it.
A tile that would do nothing is faded and won't respond — SWP REL with SWEEP at 0, SUB TYPE with no sub, a DEPTH whose TARGET is OFF. Turn the thing above it up and the tile wakes. A few controls belong to a mode rather than a value and disappear instead: switch FILTER off and CUTOFF/RESO/KEYTRACK leave the page, switch ARP off and its six settings go with it.
Both ACTIONS tabs are grouped under small headings, each a single row of one-word buttons. Which tab you get depends on what you selected: tap a step and ACTIONS acts on that step and its sound; tap a track and it acts on the whole pattern.
On a track, STEPS rearranges and generates the notes — ROTATE the pattern either way, RANDOM scatters new trigs across the empty steps (existing ones are never touched, so tap again to thicken), and EUCLID spreads the hits evenly, adding one each press. PAGE is the clipboard at 16-step granularity: COPY this page and PASTE it onto another track, or another pattern. PATTERN treats the pattern as an object — DOUBLE its length and copy the content into the new half so you can build a variation on the copy, CLONE it to a free slot and edit it independently of other parts sharing it, or CLEAR it out entirely. SELECT hands you over to the step panel: ALL lit steps, or only the ones carrying OFFSET.
On a step, the ACTIONS tab is grouped under three headings, each a single row. STEP is what happens to the steps you have selected: COPY, PASTE, RANDOM, EUCLID. SOUND is what happens to the sound they play: PICK a different one, CLONE it so this step can be tweaked alone, SAVE it as a preset, or open its SAMPLE. SELECT changes the selection itself — always within the one pattern this track plays in this part, never across tracks. ALL takes every lit step, SOUND every step playing this step's pool sound, NOTE every step at this pitch, and OFFSET every step carrying offsets — the fast way to find your p-locks, or to select them all and clear them. Steps beyond the pattern length are never selected; they never sound.
Adjusting values
Tap a parameter tile and a swipe surface opens. Swipe up or down to change the value. A dashed line splits the surface: with your finger left of it you step in tens, right of it in ones — slide between the zones without lifting. Double-tap resets to the default. The buttons below nudge by fixed amounts, and notes get a piano keyboard with −/+ octave shift.
PERF pin — the pin icon pins the parameter as a swipe pad in the PRF view.
OFFSET — switches the editor to per-step deltas on top of the shared sound. The grid shows Δ values, and steps with offsets get a corner dot. This is how one snare gets a different cutoff than the rest without touching the sound itself. OFS LOGIC can even gate when the offsets apply. Parameters that cannot carry an offset are dimmed and inert while offset mode is on, so what you can reach is what you see.
SHAPE — opens the shape tool for the parameter you are standing in, in value and offset mode. It works on your selected steps (or the track's lit steps when nothing is selected) and everything it does plays live. Pick a form — ORIGINAL (the values you came in with), FADE, PEAK, ZIGZAG, RANDOM or JITTER — and set the two frame values with the START/END handles. The frame is the law: every form stays between the two values you set, whichever way round they are — a high START and low END turns FADE into a fade-out. RANDOM scrambles inside the frame; JITTER shakes each step around its own value by at most half the frame's width, so a narrow frame humanizes and a wide one goes wild. Tapping RANDOM or JITTER again rolls fresh randomness, while dragging a handle reshapes the same roll. Notes follow the sound: scale-aware sounds snap each step into key, keymapped samples shape across slices. On toggles the handle is a DENSITY instead — how many steps land ON. BACK undoes the whole session; DONE (or tapping outside) keeps what you hear. An ordered list like ARP SPD ramps too — a FADE over it is an accelerating arp.
Selection helpers — with steps selected, a slim row appears over the step grid: ALL selects every lit step on the track, 2ND keeps every other selected step (tap again for every fourth), INV selects the lit steps you did not have, SAME selects the steps sharing the first step's note, and ✕ clears. They feed everything that acts on a selection: shapes, copying, relative swipes.
LIVE REC — the circle left of OFFSET records offsets while the sequencer runs. Arm it, then hold a finger on a parameter tile: what you set is written to the step playing right now, not to your selection — and the ringing note follows your finger, so you hear the change as you make it rather than a lap later. Hold still and the same value paints onto every trig that passes, so a whole phrase can be flattened in one lap. Two fingers on two tiles record both parameters at once. Sweeping down to 0 and holding for a lap erases instead — 0 means "no offset" everywhere in Brus. Only trigs are written; empty steps stay empty. Stop disarms it.
Recording over Bluetooth headphones lands late — the audio you react to is 100–300 ms behind, which at 120 BPM is one to two whole steps. Delay compensation is coming; until then, record over a cable or the built-in speaker for tight results.
The sound pool
A project holds a pool of up to 128 sounds (shown as S 00–S 7F). A new project starts empty: the first time you tap a step on an empty track, the instrument picker opens. It stays open until you actually pick a sound for that track — keep laying steps and it waits, and if you wander off to another track it comes back when you return. Factory presets are organized per engine, and every engine has an INIT patch to build from scratch. Tap a preset to hear it — tapping only listens, so you can browse the whole library without touching your project — and the row you stopped on grows a LOAD button at its right edge: press it to take that sound. The picker's POOL tab lists the sounds already in the sound pool — load one to point the selected steps at that existing sound (shared: edits affect every step playing it), the natural choice when a new track should reuse a sound you already shaped.
Audition in context — browse the picker while the song plays and every sound you tap takes over the selected steps in the running mix: the track's pattern triggers the candidate, through the track's effect sends and sidechain, so you hear exactly what the change would do to the song. Nothing is committed — switch rows to compare sounds mid-groove, and if you close the picker without loading, the original sound is back on the next trig. With the transport stopped you get the usual single-note audition instead.
When steps already share a sound and you pick a new one, the app asks: REPLACE S xx — ALL n STEPS overwrites that pool sound in place (every sharing step follows), while NEW SOUND — ONLY n STEPS creates a new pool sound just for the selection. That second option is a sound lock: the classic trick of putting an open hi-hat on a few steps of a closed-hat track.
The SOUND parameter on the STEP tab shows which pool sound a step plays — swipe it to walk through the assigned sounds. CLONE SOUND (ACTIONS tab) copies a step's sound to a free slot so you can tweak it without affecting the other steps that share it.
Your own presets: SAVE PRESET in a step's ACTIONS tab stores the sound outside the project — with the step's sound offsets baked in, so the preset is what you hear on that step. Cycle the SMP button to USR to listen, add to the pool, rename or delete — the LIBRARY tab imports shared .brus presets. Presets live on the device (mirrored to iCloud) and follow you across projects — and SHARE packs one as a tiny .brus file (SMPL presets carry their sample) that lands under USR when the receiver opens it.
Opening a sample that's in use jumps straight into the pool sound's own copy — the thing you actually hear (several sounds sharing it: pick which). An unused sample opens the bank template as before, and the editor shows a TEMPLATE badge when you're editing one that's in use. Think of the bank as your files and the sounds as the project's settings.
Samples work like presets: ADD TO POOL copies the sample's settings (slices, trim, root, flags) into the sound, where they live with the project. EDIT SAMPLE in a step's ACTIONS tab edits that sound's own copy — clone the sound to slice the same audio two ways, no duplicated data. Editing in the SMP list edits the template, affecting future picks only. Audio itself is stored once and travels inside the project file.
The seven engines
| FM | Two-operator FM with self-feedback and an optional filter stage (all six modes). RATIO sets the modulator ratio, DEPTH the modulation index (brightness), FEEDBACK adds saw- or square-flavored bite (FB POL). The mod envelope drives brightness and the filter. |
| MONO | A raw virtual-analog mono synth: saw + pulse with PWM, sub-oscillator (three flavors), noise, six-mode filter, BRUTE feedback, wavefolder, drive and bitcrush. |
| SUPER | 7-voice supersaw. SAW sets the detune spread, PULSE the side-saw mix. Pairs beautifully with the CHORD and SPREAD/INVERT step parameters for instant trance stacks. |
| DRUM | A dedicated drum synth: pitched body with pitch sweep, click transient, an FM layer (DRUM FM), a second body mode (TONE 2) and a separate noise layer with its own filter (NZ FILTER) that blends toward a metallic square stack (METAL). CURVE bends every decay into an analog ring-out and CLAP retriggers the noise — the 808/909 vocabulary. |
| SMPL | The sampler. Plays a bank sample with transpose, non-destructive trim, start offset, loop, reverse, up to 64 slices — and KEYMAP mode where the note picks the slice, chopped-break style. Optional filter stage like FM. |
| GRAIN | A granular cloud over any bank sample: grains scatter around POS with SPRAY, overlapping DENS deep, each SIZE long with a WINDOW from soft to buzzy and JITTER detune. Pick a sample in SMP as usual, then switch ENGINE to GRAIN — the sound keeps its sample and slices (grains snap to slice starts: a cloud that jumps between the hits of a break). The mod envelope scans POS across the note, an S&H LFO on POS rolls a new spot per note, and pitch is played melodically from the root. |
| PLUCK | A Karplus–Strong string: a noise burst rings through a tuned feedback loop. DECAY is in time (same ring across the keyboard, 255 = endless drone), DAMP is the tone, COLOR/EXCITE/POS shape the pick per note. STIFF pulls toward piano wire and bell, MODE (FB POL) flips it into the original noise-drum. Chords ring as real multi-string stacks, slides glide the ringing string, and the whole fold/BRUTE/filter/drive tail is available. The mod envelope sweeps DAMP — a bright attack that darkens, like a real pluck. |
Step parameters (STEP tab)
Three tabs, four pages: TRIG·A is the note and when it fires; tap TRIG again for TRIG·B, everything about time. Then CHORD and ARP.
TRIG·A — the note
| SOUND | Which pool sound this step plays. Swipe walks the assigned sounds. |
| NOTE | The pitch this step plays. With SCALE SNAP on it snaps to the song scale and follows part transpose. |
| VELOCITY | How hard the step hits (0–127). |
| PAN | Stereo position of this step: L64…C…R64. |
| LENGTH | Step length in step units (1–16). 1 plays on the grid; 2 makes the step last two step-times before the next fires. The track's SPEED is taken into account and the pattern loops on the summed length — build uneven, analog-sequencer timing out of durations instead of rests. Pure timing: envelopes stay BPM-locked. |
| PROB | Chance that the step fires each visit. 100% = always. |
| LOGIC | Trig condition: the step only plays on certain visits (e.g. 1/2 = every other loop). |
| INVERT | Flips the condition — the step plays on exactly the visits it would have skipped. |
| TIE | Ties into the previous note: no new attack — the ringing voice continues with this step's pitch and parameters. |
| MUTE | Silences the step without removing it — the note and all its settings stay, shown faded in the grid. Behaves exactly like a trig condition that fails: visit counters keep counting, so muting and unmuting never re-phases the pattern. Unlike track mute, muted steps survive KEEP: they come along in the kept phrase, still muted. |
| GLIDE | Glide time from the previous note into this one. On a tie: 303-style slide without re-attack. |
TRIG·B — time (tap TRIG again)
| RATCHET | Fires the step several times within its window (×2…×16) — rolls and fills. |
| MODE | Level shape of the ratchet sub-hits: flat, fading in, or fading out. |
| SPAN | Stretches the ratchet roll across N steps instead of one. |
| DELAY | Micro-delay: pushes the step late by N/16 of a step — flams and laid-back hits. |
| JUMP | When the playhead leaves this step it jumps: to a specific step (→ 1…128) or a random one (RND). Works on empty steps too — a silent jump marker. Loops-inside-the-loop, stutters, drunk walks; a pattern restart pulls the playhead home. |
| TIME LOGIC | Condition for the JUMP, same M/N vocabulary as LOGIC: the jump only fires on matching passes of this step — loop three rounds, then jump back. Counts every pass, notes or not. |
| TIME INV | Inverts TIME LOGIC: the jump fires on every pass except the matching one. |
| OFS LOGIC / OFS INV | The same conditions, but for the step's offsets: they only apply on matching visits — the note plays either way. |
Chord
| MODE | SCALE builds the chord from the song scale (below — impossible to play wrong). FREE is your own voicing, Ableton-Chord style: NOTE 2–6 set exact semitone intervals (±36) on top of the root. On a scale-snapped sound each chord note follows part transpose in scale degrees (stays in key); with scale snap off the shape is fully chromatic. Up to 4 voices sound together; all 6 feed the arp. |
| CHORD | SCALE mode: chord pool for this step — up to 4 notes sound together; up to 6 feed the arp. |
| SPREAD | How wide the chord voicing spreads, in scale degrees. |
| INVERT | Chord inversion: positive lifts the lowest notes an octave; negative drops the highest notes instead (drop voicing). |
Arp
| RANDOM | Rerolls the note at every pass, around the written note: on a keymapped sample it picks slices (ALL = anywhere in the table — instant breakbeat confetti), with SCALE SNAP on it walks scale degrees and can never hit a wrong note, otherwise semitones. Chords and arps build from the rolled root; combine with LOGIC or PROB for melodies that misbehave on schedule. DRUNK wanders ±1 step from its last note instead, bouncing inside an octave around the written one — a restart sobers it up. |
| ARP | Arpeggiator pattern: the chord pool plays as a sequence (up, down, up-down…) instead of a stack. OFF hides the rest of this page. |
| ARP SPD | Arp note rate in musical divisions — BPM-locked, independent of pattern speed. |
| ARP LEN | How long the arp runs, in steps. Max = HOLD: until the next noted step interrupts. |
| ARP GATE | Note length: staccato, normal, or legato. |
| FREE RUN | When the same arp step comes around again, the arp continues instead of restarting. |
| ARP LOGIC / INVERT | Trig condition for the arp's own notes — failed visits become rests while the arp keeps stepping. |
Sound parameters (SOUND tab)
Each sound only shows the parameters its engine uses. The engine column below tells you where a parameter appears.
Osc
| Param | Engines | |
|---|---|---|
| RATIO | FM · DRUM · SMPL | FM: modulator ratio (×0.25 steps). DRUM: tone ratio. SMPL with slices: picks the slice. |
| START | SMPL | Start offset within the sample region — nudge past the transient for ghost hits. |
| PITCH | SMPL | Sample transpose in semitones. THE pitch control for keymapped samples. |
| DEPTH | FM · DRUM · SMPL | FM: modulation index — brightness. SMPL: how far the mod envelope sweeps the slice position. |
| FEEDBACK | FM · DRUM | Operator self-feedback — saw-ish (or square-ish) bite. |
| FB POL | FM | Feedback polarity: SAW or SQR character. |
| DECAY / DAMP | PLUCK | String decay (in time; 255 = endless drone) and how dark the ring-out is. As modulation targets, DAMP moves the string and nothing else; the filter’s cutoff is its own target called CUT (inert unless you switch the filter on). |
| COLOR / EXCITE / POS | PLUCK | The pick, per note: brightness, length (click→scrape) and position (the hollow bridge comb). |
| STIFF | PLUCK | Allpass dispersion — piano wire and bell inharmonicity. |
| SPRAY / SIZE / DENS / JITTER / WINDOW | GRAIN | The cloud: scatter, grain length, overlap, per-grain detune and window hardness. |
| SWEEP / SWP REL | FM · DRUM · SMPL · PLUCK · GRAIN | A fixed pitch-drop circuit: instant attack from up to +24 semitones, true exponential fall (SWP REL sets the speed) — kick zaps, drops and risers. Lives here because it's a pitch tool, not part of the envelope tabs. |
| DRUM FM | DRUM | Adds FM tone on top of the drum body. |
| TONE 2 | DRUM | Level of a second sine in the body. Two modes ringing together is the 808/909 snare shell. |
| T2 RATIO | DRUM | TONE 2's frequency relative to the body, in quarter steps. 1.75x is the 808 snare pair; just off 1.00x beats like a 909. |
| METAL | DRUM | Blends the noise layer from white noise toward six inharmonic squares — the 808 hat and cymbal recipe. Follows the note and the sweep, and runs through NZ FILTER. |
| OCTAVE | MONO · SUPER | Oscillator octave (−2…+2). |
| TUNE | FM · MONO · SUPER | Constant transpose in semitones (±24), offsettable per step. SYNTHESIZE sets it automatically on SAVE so grown patches play in tune. |
| SAW | MONO · SUPER | MONO: saw level. SUPER: detune spread of the side saws. |
| PULSE | MONO · SUPER | MONO: pulse level. SUPER: side-saw mix. |
| PW / PWM DEPTH / PWM RATE | MONO | Pulse width (128 = 50%) and how far/fast it wobbles. |
| SUB / SUB TYPE | MONO · SUPER | Sub-oscillator level; type: −1 oct square, −2 oct square, −2 oct pulse. |
| NOISE | all | Noise mixed with the oscillator. On DRUM: the noise layer with its own envelope and filter. |
Filter & mod envelope
| Param | Engines | |
|---|---|---|
| FILTER | FM · SMPL | Turns the filter section on. OFF = raw, zero cost. |
| NZ FILTER | DRUM | Filter on the drum's noise layer only. |
| CUTOFF / RESO | all | Filter cutoff frequency and resonance. |
| FILT MODE | all synths | Low-pass, band-pass, high-pass, notch (hollow, phasey), peak (resonant boost) or vowel — CUTOFF morphs U-O-A-E-I formants and RES sharpens them. Sweep CUTOFF with an LFO or the envelope and the filter talks. |
| KEYTRACK | FM · MONO · SUPER · SMPL | Cutoff follows pitch so high notes open the filter. |
| ENV AMT → route | FM · MONO · SUPER · SMPL | Now lives as a route on the ENV B tab (TARGET CUT + DEPTH — negative closes the filter). Old projects are converted automatically and sound exactly the same. |
| MOD ATK / MOD REL | all | Mod envelope attack and release. Drives FM brightness, the filter and SMPL slice sweep. |
| MOD START / MOD END | FM · MONO · SUPER · SMPL | Attack floor and release floor — the envelope starts/settles at these levels instead of 0. |
| PIT AMT → route | FM · MONO · SUPER | Now lives as a route on the ENV B tab (TARGET PITCH + DEPTH, ±24 semitones). Instant attack + short release = a zap; slow attack = a rising sweep. Old projects convert automatically, bit-identical. |
| BASE / WIDTH | all | A per-sound EQ stage after everything else: BASE is a high-pass (raise it on hats, stabs and pads so they stop rumbling into the kick), WIDTH is how wide a band above BASE passes (lower it to tame harsh tops). 0 / 255 = off. |
| BRUTE | FM · MONO · SUPER · SMPL | Output fed back into the filter input — growls on sustain. |
| FOLD | FM · MONO · SUPER · SMPL | Wavefolder — metallic folding of the waveform. |
| DRIVE | all | Post-filter overdrive: soft-clips the output into a scream. Fades in smoothly from zero — low values warm rather than squash. |
| CRUSH | all | Bitcrush / sample-rate reduction — lo-fi degradation. |
The tile order is the same on every engine: filter type first, then CUT/RES, then the shapers.
Envelopes (ENV A, B and C)
The ENV tab pages through three envelopes — tap it again to cycle A → B → C, exactly like the LFO tab. Every page shares one form: shape on the left (START/ATK · HOLD/CURVE · REL/END), three routes on the right (TARGET/DEPTH 1–3). ENV A is the amp envelope — its first route slot shows the fixed AMP wiring (that's the point: the hardwired connection is visible in the route column), the remaining slots are free extras. ENV B is the mod envelope — its classic per-engine wiring (FM brightness, filter, SMPL morph) stays; routes are extras. ENV C is free — silent until a route points somewhere. A route pushes any target from the same per-engine list as the LFOs, with a bipolar depth.
| START / END | Attack floor and release floor. END on ENV A is special: the note settles at the floor and drones until the track's next note takes the voice (or the voice pool steals it) — instant pad machine, use at your own risk. |
| CURVE | Bends the envelope's attack and release: negative = logarithmic (soft), 0 = linear, positive = exponential (percussive). |
| HOLD | Time at full level between attack and release; 255 = infinite. New on ENV B — the mod envelope used to be attack/release only. |
| TARGET / DEPTH 1–3 | The routes: what this envelope pushes and how far — depth is a percent of the target’s full range on a squared curve, so +127 from a closed filter is the entire sweep. Negative depth inverts. FM MOD as a target rides the FM modulator level itself — a second brightness contour, or LFO tremolo inside the FM core. |
Amp
| ATTACK / HOLD / RELEASE | The amp envelope. HOLD 255 = infinite: rings until something releases it; on SMPL it sustains loops. |
| CLICK | Attack click level on the drum — beater snap. |
| CURVE | Bends the drum's decay from a straight line toward the exponential fall of an analog circuit: quick drop, long soft tail. 0 is the old linear decay. Shapes the noise tail too — this is the 808 ring-out. |
| CLAP | Turns the noise layer into a clap: three extra bursts at falling level, the way an 808 retriggers its noise. The value sets the spacing. Keep the noise decay short so the bursts separate. |
LFO (A, B and C)
| TARGET | What the LFO moves. The list is per engine — every slot does something on every kind. Universal: pitch (on SMPL a real vibrato/wow on the play rate), level, pan, REV/DEL/CHO SEND (dub throws, tremolo delay), noise, drive, CRUSH — or another LFO's rate/depth. Engine-specific: BRUTE and filter ENV AMT (MONO/SUPER), SPREAD/SIDEMIX (SUPER), CLICK, SWEEP and the noise filter's CUT/RES (DRUM), RATIO and FM feedback (FM and DRUM), MORPH (SMPL). Per-note targets — SMPL START/SLICE/LENGTH, FM M START/M END, DRUM SWP REL/NSE REL — are sampled once at note-on: an S&H LFO rolls dice per note, a slow ramp sweeps per note. OFF disables it. |
| DEPTH | How far it swings the target (bipolar). |
| RATE | Speed (log dial). Ignored when SYNC is on. |
| SYNC | Musical divisions lock the period to tempo; PART/PHRASE lock the phase to the arrangement — the cycle spans exactly one part or phrase. |
| SHAPE | Sine, triangle, sample & hold, square, saw, exp, ramp. |
| MODE | FREE runs, TRIG restarts each note, HOLD latches, ONE/HALF play once, PTN rephases only when the track's pattern is new. |
| PHASE | Phase shift (256 = full cycle) — rotates the waveform in every mode, live. TRIG/PTN start the cycle here; with PART/PHRASE sync: where in the cycle the barline sits. |
| FADE | Negative fades the depth in over each note, positive fades it out. |
| TARGET / DEPTH 2–3 | Every LFO carries three routes: route 1 is the classic TARGET/DEPTH pair, routes 2–3 share the same wave but have their own destinations and depths — one LFO wobbling cutoff, level and a send at once. Depth is a percent of the target’s full range on a squared curve — small values give fine vibrato steps, the top sweeps the whole register (a full-depth LFO on CUT closes and opens the filter completely). |
FX
What the sound sends to the shared effects and how it sits in the mix — one page instead of the old ROUTE tab. (DRIVE and CRUSH live on the FILTER page with the other shapers.)
| SND CHO / SND DLY / SND RVB | How much of this sound feeds the chorus, delay and reverb sends. |
| GAIN | The sound's mix level (127 = unity, above boosts). |
| SC DRIVE | Sidechain drive: this sound pumps the chosen group when it triggers. |
| SC RECV | Sidechain receive: this sound ducks when its group is pumped. Kick drives group 1, bass receives group 1 — instant pump. |
| SCALE SNAP | Notes snap to the song scale and follow part transpose. Turn off for drums. |
Track settings (TRACK tab)
Three headings, because these settings belong to three different things.
Track
| SOUND | The pattern's default sound — unlocked steps follow it, the PDS pads play it, and live recording writes it. Change it and every unlocked step changes with it; steps locked to their own sound (shown a shade lighter in the grid) keep theirs. To release a lock, load the P row at the top of the step's sound browser, or swipe the SOUND value below the lowest pool sound (shown as PTN) — the step follows the pattern's default again. Saved with the pattern, so rebinding the pattern brings its sound along. Shows the pool slot; tap to pick. |
| SAMPLE | On a sampler sound only: opens the sampler on this sound's own copy of the slicing, so you can keymap or re-slice it without going via a step. |
| PATTERN | Which pattern the track plays in the current part — opens the same pattern grid as the song view, with preview, LOAD and CLONE TO NEW. Rebinding here changes this part only. |
Pattern
The heading carries the pattern's number, because these five live on the pattern, not on the track. Two parts bound to the same pattern share its length, speed and swing — change one and you change both. Use CLONE in ACTIONS first if you want them to differ.
| LENGTH | Pattern length in steps, up to 128. Patterns loop at their own length — polymeters come free. |
| SPEED | Pattern speed multiplier — this track runs faster or slower than the beat. |
| SWING | Pushes every other 16th late. |
| VOICES | How many sounds can ring at once on the track: 1 = classic mono. At 2–3 the track's default sound owns a protected voice — only its own notes (or its glide/tie) can ever cut it — while the track's other sounds share the remaining voices, stealing oldest-first among themselves. The same sound still cuts itself, exactly like mono, so glides and ties always have their source. A ratchet roll on one sound keeps rolling while another sound plays. |
| FOLLOW / SELECT / FIRE | Track follow: the track fires from an earlier track’s notes instead of its own grid. The step row collapses into one super-step whose note is a transpose of the incoming note (60 = unison) — sound, envelope, conditions and even an arp of its own. SELECT picks from the source’s stack (LOW = pedal bass, HIGH = top note, ALL = the chord passes through). FIRE chooses between every note the source plays or only its step trigs. Chains are allowed — only lower-numbered tracks can be followed, so cycles can’t happen. |
| RESTART | When the pattern re-phases: PART follows the arrangement (default), N beats forces a cycle, PHRASE/SONG/TRP rephase on phrase, slot or transpose changes, ONESHOT plays once per rephase, INF never. Free-running arps and PTN-mode LFOs follow these points. |
Live
| MUTE | Silences the track from here on. The steps are untouched and their visit counters keep running, so muting and unmuting never re-phases anything. Not saved with the project — and not the same as a step's own MUTE, which belongs to the step and travels with it. |
| SOLO | Plays this track alone and silences the other seven. Exclusive: soloing another track moves it rather than adding. Not saved with the project. |
The track ACTIONS tab also has DOUBLE LEN — doubles the pattern length and copies everything into the new half, so you build the variation on the copy — and CLONE, which copies the track's pattern to a free slot and switches to it.
Song mode (SNG)
The hierarchy: each track plays a pattern; a part binds one pattern per track for a number of beats; a phrase is a row of parts; and the song is a chain of up to 64 slots, each playing a phrase.
| Song cell | Which pattern a track plays in a part. Swipe up/down to change (past 00 unbinds the track). Tap the ▼ header to edit the whole column. |
| Track row | Tap the number to select the row — mute and solo live there. A struck-through number is muted. |
| LEN / TRP rows | Part length in beats, and part transpose: shifts all scale-aware notes while the part plays. |
| Song slot | One phrase in the chain. Tap to select, swipe to change phrase. In PRF, tap to queue it. |
| The + buttons | Add an empty phrase to the chain, or an empty part to the phrase. Copies are their own verbs: DUPLICATE SLOT and CLONE PHRASE in the slot's ACTIONS, DUPLICATE PART in the part's. |
| BPM row | Swipe to change tempo, tap to open it. ROOT and SCALE set the song scale that SCALE SNAP sounds follow. |
Whatever you select gets the same two-tab panel: the left tab is what you selected, the right one is ACTIONS — what you can do to it. The title beside the tabs says which cell, track, part or slot you are on.
| Cell | PATTERN holds the binding plus that pattern's own LENGTH, SPEED, SWING, VOICES and RESTART — the same five as the track view, edited right here without leaving the arrangement. ACTIONS: COPY and PASTE the binding (pasted cells share the pattern), CLONE it to a copy of its own, CLEAR to unbind. |
| Track row | TRACK holds the track's default SOUND, MUTE and SOLO. ACTIONS: EDIT selects every lit step this track plays across all parts and hands it to the track view, CLONE gives every part its own copy of the pattern, CLEAR unbinds the whole row. |
| Part | PART holds LEN (in beats) and TRP. ACTIONS: DUPLICATE the part, CLONE to detach all its patterns from the neighbours, DELETE it. |
| Song slot | SLOT holds which PHRASE it plays. ACTIONS: DUPLICATE to play a section twice, CLONE the phrase, DEEP to clone the phrase and all its patterns, REMOVE the slot (the ones after close the gap; the phrase itself stays). |
The clones are what keep sharing under control, and each one detaches at a different level — one cell, one row, one part, or a whole phrase. Hold a slot and drag it to reorder the chain.
Tapping PAT in a cell's panel opens the pattern grid: every pattern as a tile (with its step count). With the transport stopped, tap one to hear that pattern alone on this track — the other tracks stay silent. Then pick a verb at the bottom: LOAD binds the pattern you picked, CLONE TO NEW copies it to a free slot and binds the copy. The second one matters because patterns are shared by reference — the same pattern in three places changes in all three — so cloning is how you edit only here. The cell's current pattern is preselected, so CLONE TO NEW is one tap from “give me my own copy of this”.
TAKE — record the jam itself
Press the SNG tab a second time to open TAKE. Arm ● RECORD, press play and jam: every edit, mute and queued switch is logged as a row with its time and position. Press stop and the take is kept — and everything you touched is restored to how it was before the take, so jamming is always free. The eight most recent takes are listed; tap one to read through what you did — and ▶ PLAY TAKE replays it: the base state loads, your moves happen again at their recorded times, and when it ends everything returns to where you were. Extracting parts of a take into phrases is on the way.
Performance (PRF)
Two things live here: the song chain for queueing — tap a slot and it starts at the next phrase boundary — and your pinned performance pads. Pin any sound parameter with the pin icon in its editor; in PRF it becomes a swipe pad that bends the parameter around its base value. Release and it springs back, unless HOLD latches it.
Note pads (PDS)
The view opens on PDS: twelve big pads spanning one octave, playable like a keyboard. Light and dark pads mirror the white and black keys; pads outside the song scale are dimmed — they still play, and scale-aware sounds snap them into key. The tool row holds PAGE ← / → (long patterns live on several 16-step pages) and the OCT − / + switches (the pad labels show where you are). Swipe up/down on the row's track number to move between tracks. The track's default sound lives in the track settings and in the TRACK panel. Lowest note sits bottom-left. Tap PDS once more to flip to the performance swipe pads (PRF).
The row at the top is the selected track's step row, exactly as in the track view — note names and all. Tap its handle to open the track settings below (speed, length, swing, restart, sound, mute/solo, pattern binding, pattern actions). The steps are the track view's steps, gestures and all: tap empty places a note, tap a lit step selects it and opens its settings below (tap again to close), swipe up cuts, swipe down pastes, dragging selects a region. The selected step is also the cursor: the next pad you hit writes its note there. Arm STEP and the cursor walks forward after every note — step recording without the transport running. Arm ● REC and every pad you hit while the song plays is written to the step under the playhead — note, velocity (pads read your finger's vertical position: bottom is hard, top is soft) and the track sound. You hear exactly what gets recorded. QUANT decides the timing: on, notes snap to the nearest step; off, the note lands on the step you hit and the off-grid distance is stored in the step's DELAY field, so playback preserves your feel.
Mixer & FX (MST)
Chorus, delay and reverb are send effects: each sound decides how much it feeds them (SND CHO/DLY/RVB on the FX page), and the BUS unit sets how much comes back.
| CHORUS | RATE (LFO speed), DEPTH (modulation depth), WIDTH (stereo width). |
| DELAY | TIME, FEEDBACK (longer tails), TONE (darkens the repeats), WIDTH. |
| REVERB | A plate reverb: SIZE, DAMPING (high-frequency damping of the tail), WIDTH. |
| BUS | Return levels for each effect, cross-feeds (C→D sends chorus into the delay, C→R and D→R into the reverb), DRIVE — the master bus soft clipper — and SC C/D/R: a sidechain group per effect return. Set SC DELAY to the kick's SC DRIVE group and the delay tail ducks with every kick, pumping in time. |
The mixer at the bottom has one fader per track (127 = unity). Drag relatively, double-tap for unity. Like a real channel fader it scales the sends too.
Samples (SMP)
Record your own (+ NEW)
The + NEW button opens the recorder. Pick a source: the microphone (iOS asks for permission the first time you choose it), a single track (dry, exactly what that track plays), or the MASTER mix. THR arms recording to start on signal — drag the meter to set the threshold line; a short pre-roll makes sure the transient is never clipped. On MASTER, GRAB takes the last 30 seconds retroactively — the app keeps a rolling buffer, so the take you just played but forgot to record is still there. Recordings cap at 30 s, land in the bank as REC n and open straight in the sample editor for trimming and slicing.
Capture a track (CREATE SAMPLE / CREATE GRAIN)
On a track's ACTIONS tab: one button, CAPTURE. Press it and the track records itself — nothing drops out, the track keeps playing in the mix while the capture runs its signal through its own private effects, so the file has the filter, the drive and the track's own reverb and delay tail, in stereo. A progress card shows the phases: waiting for that track's loop to come around (polymetric tracks line up too), recording exactly one loop, then rolling on until the sound has died away. The reverb decides the length; there is nothing to set.
In the app the capture renders two passes of the loop offline: pass two carries pass one's effect tails, and SAMPLE arrives with loop points already set — LOOP is on and the loop cycles seamlessly, tails included. GRAIN and KIT ignore the points (they stay on the sample, so you can switch LOOP on later).
Then you choose what it becomes. PLAY auditions the capture; SAMPLE lands it whole and unsliced so a placed step plays the loop; GRAIN lands it as a granular cloud, sliced on its transients so the grains jump between the hits — made for long reverb: capture a wet tail, then scatter grains across it and add more reverb; KIT slices it the same way but switches KEYMAP on, so each note plays one hit — capture a drum groove once, then replay its pieces from the keyboard. CANCEL discards the capture — nothing lands in the bank until you choose. OPEN on the receipt jumps straight into the new sound's own copy in the sample editor. Either way the new sound is armed, so the next step you place uses it.
A capture is stereo (the master carries the FX returns) and locked to the tempo it was taken at. If you want to place it at a point in the stereo field rather than lean it, fold it with MONO in the sample editor — see the flag table below.
Two banks (A and B) with 256 slots each. Sounds remember which bank and slot they play, and imports land in the tab you're on. The panel below the list has two tabs: SAMPLE holds the selected row's verbs — USE AS SMPL (a sampler sound in the pool), USE AS GRAIN (a granular cloud over the same material) and EDIT (the sample editor) — and BANK holds the bank tools: ADD SAMPLES imports audio files (converted to mono 44.1 kHz); ARCHIVE.ORG opens the built-in browser of vintage drum machine packs (see the tutorial). Clearing a whole bank lives with the other mass deletes under BRUS > DELETE.
Tap a sample row to audition and select it; tap again to open the sampler view with the waveform:
| TRIM START / END | The playback region. Non-destructive — the shaded part never plays, and the data stays intact. |
| ROOT NOTE | The note at which the sample plays at original speed. |
| LOOP | Loops the sample — pair with a long HOLD for pads. With LOOP on, two extra markers appear in the editor: LS/LE, the loop points (the Simpler model). Playback runs from the start into the loop, then cycles LS–LE with a short equal-power crossfade over the seam — set the points and the seam disappears. Released markers snap to zero crossings, and the LOOP START / LOOP END tiles on the EDIT tab fine-tune them in single samples. Without points the whole region loops as before. The points live inside the trim region; on sliced or keymapped sounds slices win — the loop applies to unsliced playback only. A loop shorter than the crossfade shrinks the fade. |
| REVERSE | Plays it backwards. With LOOP and loop points set, the same points apply in the reversed material — playback cycles backwards between them. |
| MONO | Folds a stereo sample down to mono. Only shown on stereo samples — imported stereo files keep both channels. It decides what PAN means for the sound: a stereo sample can only be leaned left or right (PAN is a balance), a mono one can be placed at a point in the field (PAN is a position). Fold a wide resampled loop to mono when you want to sit it beside the original rather than on top of it. Like the other material settings it belongs to the sound, so cloning gives you one wide copy and one narrow. |
| SLICES | Splits the region into N equal slices (up to 64). RATIO — or keymapped notes — picks the slice. Once slices exist, the EDIT tab in the sampler panel holds the marker workshop (trim, slices, points): AUTO is a toggle that finds the transients — with it on, swiping SLICES keeps the N most prominent hits. The editor is two panes: an overview of the whole sample with a window showing where you are, and a detail view you pinch-zoom all the way down to single samples. One marker is active at a time — tap its flag (S/E) to select, drag to move (the view follows past the edges), and trim edges snap to zero crossings on release. Tap between two points to hear that slice (and select its point), step through points with ◀ PT / PT ▶, and the POINT tile fine-tunes in single samples. Slices live inside the trim region — points outside are parked, not deleted, and return if you widen the trim. The ACTIONS tab holds the destructive tools: TRIM (crops to the trim region), REVERSE (bakes the audio reversed), DUPLICATE (copy the sample to slice it differently) and DELETE. |
| KEYMAP | The played note picks the slice at fixed pitch — chopped-break style. Use the sound's PITCH to tune. The sequencer knows: RANDOM fills with random slices instead of chromatic notes, and a ratchet pitch ramp bends the sound's PITCH so the roll stays on one slice. |
Synthesize — sample to synth patch
Neural seeding (the trained models that jump-start the search) runs in the iPhone, iPad and Mac apps; the web version searches from scratch — same results, slower start.
Open a sample in the sampler and tap SYNTHESIZE: the five synth engines race to recreate the sample as a playable patch. An on-device neural network proposes starting points, a genetic search refines them against the sample's actual spectrum, and every new best candidate auditions automatically as it is found. Pick an engine or leave it on AUTO, then:
Two things happen while it runs that are worth knowing about. The search restarts from fresh ground at intervals instead of polishing a single idea: a genetic search settles into one valley early, and several short independent attempts find the right one far more often than one long attempt does. The candidate row keeps the best of all of them, so nothing is lost across a restart.
And before you hear a candidate, every parameter that makes no audible difference is stripped back to neutral. A grown patch used to arrive with most of its forty-odd parameters set to arbitrary values that did nothing; now a typical one sets around ten. What you save is something you can open, read and edit — and it sounds the same, or slightly better, than the unstripped version it came from.
| Tap a candidate | Audition and select it (outline) — SAVE writes the selected one. |
| Hold a candidate | Mark it as the seed; EVOLVE breeds a new population from it. |
| STOP / RESUME | Pause and resume the search — candidates stay. |
| SAVE | Writes the patch to the sound pool, automatically tuned so it plays at the pitch you sequence. |
Everything runs on your device — samples never leave the phone. Leaving the sample or tapping DONE ends the search.
The sampler's ACTIONS tab is split by what the action touches. USE reads the sample and takes it into play, so it is always available: AS SMPL makes a pool sound that plays it as a sampler, AS GRAIN as a granular cloud, ON TRACK asks how (SMPL or GRAIN) and then which track — the sound becomes that pattern's default (what its pads play and new steps follow) — and SNTHZ starts SYNTHESIZE (the name is squeezed to fit the tile — the panel it opens spells it out). FILE operates on the stored sample itself: DUPE copies it to a free bank slot so you can slice the copy differently, while TRIM, REVERSE, RENAME (15 characters, the bank format's limit) and DELETE rewrite or remove the audio that every sound shares — those only appear when you have the sample's template open, not one sound's own copy of it. EDIT TEMPLATE on the SAMPLE tab takes you there.
A freshly pooled sound is also instantly playable in PDS on any empty track, and the track settings gain an EDIT SAMPLE tile that opens the sound's own copy — no need to place a step first. EXPORT BANK saves a whole bank as a .brusbank file; IMPORT BANK loads one — REPLACE swaps the whole bank, ADD fills the free slots. Banks are plain files: build and edit them on a computer with the bank editor.
Projects (PRJ)
Every project is one self-contained .brus file — patterns, sounds and the samples it uses. The list shows your projects newest first; the working project autosaves continuously and SAVE writes its file — and renders a short one-bar audio preview (the bar where most tracks are playing) into it, so tapping a row in the list plays a taste of the project. NEW PROJECT starts fresh (the current one is saved first), DUPLICATE forks a copy — on the active project it saves your working copy first, so the duplicate is exactly what you hear — and COLOR/CHANGE NAME shape its identity — the name becomes the filename when you share.
In the app, your data lives on the device first — playing and switching projects never waits for the network — and mirrors to iCloud in the background so it follows you between iPhone and Mac: projects, presets and samples alike (BRUS > SYSTEM shows exactly what syncs). THEME (BRUS > SYSTEM) restyles the whole instrument — track colors and the project palette change together (Paper, STHLM, Norrland, Kosmische, Motown, Tokyo), and saved project colors keep their slot in the new dress. DARK MODE (BRUS > SYSTEM > DARK) flips the paper to night — same instrument, fewer colors; the setting stays on the device. On the web they live in the browser's storage. Because every file carries its own samples, clearing a sample bank can never silence a saved project.
SHARE PROJECT packs the whole project — the project and every sample it uses — into one .brus file, ready for AirDrop, Messages or Files. The receiver opens it in Brusmaskin (or imports it with IMPORT PROJECT): the project loads into the working area, and its samples merge into their banks — identical samples are matched by content, never duplicated, so a project can bounce between two people without their banks growing. The project's name becomes the filename.
Exported files are named after the project (“midnight courier.wav”, “midnight courier-3.wav” for stems).
EXPORT AUDIO (in the info view) renders the song offline: WAV or M4A, the full MASTER mix or one file per track (STEMS), with effects or DRY. Stems arrive as a zip on the web and as multiple files in the app's share sheet. The render follows the song chain to its end and lets the effects ring out.
MASTERING finishes the export like a release: the song's loudness is measured (EBU R128), raised to the target, and the peaks are caught by a transparent true-peak limiter at −1 dBTP. STREAM targets −14 LUFS (what streaming platforms normalize to), LOUD −9 (a modern electronic release — the default), CLUB −7 (DJ hand-off), OFF exports the raw mix. ADJUST tweaks the recipe — LUFS target, TONE (tilt), GLUE (gentle bus compression) and WIDE (stereo band lift). The choice is remembered across projects, so every track of an album gets the same treatment. Stems are never mastered — per-track normalization would wreck the mix balance. A tape take can be mastered the same way: MASTER in the cassette view writes a new “· M” tape and leaves the original untouched.
MIDI
The app listens to CoreMIDI — plug in or pair a controller and it just shows up. Mapping is by MIDI LEARN: tap the logo to open the info view, turn LEARN ON, tap a sound parameter tile, an MST fader or a MUT/SOL tile, then move a control on your hardware. Knobs and faders scale absolutely across the parameter's range; buttons toggle on press.
Push mirror — with an Ableton Push connected, turning the phone sideways shows the Push display in big type: the same four text rows the hardware renders, live. On Push 3 — whose own screen an iPhone can't drive — this is the display. Rotate back and the app returns.
Absolute controls use soft takeover: after a preset change the knob doesn't yank the parameter — it picks up once it crosses the current value. A floating M on the logo shows learn mode is armed.
Notes in and out
Tracks 1–8 speak MIDI channels 1–8. Incoming notes on a track's channel play its pattern's default sound with your velocity — and if PDS recording is armed (REC or STEP) they are written to the pattern exactly like pad hits. Channel 16 is the auto channel: it plays whichever track is currently selected. IN (info view, MIDI section) picks what the app listens to: all sources (default), off, or one specific source.
Pick an output under OUT (info view, MIDI section) and the sequencer sends every note it plays on the track's channel — drive hardware synths straight from the patterns. Choose VIRTUAL PORT to publish as Brusmaskin for other apps to subscribe to, or one specific destination (which also feeds the virtual port); pads echo out the same way. OFF is the default.
Tutorial: a drum kit from archive.org
Brusmaskin has a built-in browser for hundreds of vintage drum machine sample packs hosted on archive.org. Two minutes from empty project to a classic kit:
- Open SMP. Pick the bank tab you want the samples in (A or B).
- Tap ARCHIVE.ORG. A list of drum machines appears — everything from an 808 or 909 to obscure organ boxes. Tap a machine.
- Tap a file row to preview it. Tap the + on a row to import just that file, or IMPORT ALL to take the whole kit.
- Close the dialog — the samples are now in your bank. Tap one to audition, tap again to open the sampler view if you want to trim or rename it.
- To play one from the sequencer: select it and tap ADD TO POOL — it becomes a pool sound (S 00 upward). Or just tap an empty step in TRK and pick it from the instrument picker's sample list.
Works offline too: the machine list ships with the app, only the downloads need a connection. Samples are stored in your bank, so a kit is downloaded once and then it's yours.
Tutorial: your first song
A four-track loop that becomes an arrangement — kick, hats, snare, bass. Ten minutes.
The beat
- Kick. In TRK, make sure track 1 is active (tap its handle). Tap step 1 — the instrument picker opens. Choose a kick under DRUM (tap to preview, then LOAD). Now tap steps 5, 9 and 13: four on the floor.
- Snare. Activate track 2, tap step 5, pick a snare, then add step 13.
- Hats. Activate track 3 and put a closed hat on every odd step (1, 3, 5…). Give it groove: select a few steps and lower VELOCITY, or set the track's SWING (TRACK tab) to ~60.
- Open hats — a sound lock. Select steps 3, 7, 11 and 15 on the hat track (drag sideways to range-select, or use SELECT in ACTIONS). Open INSTRUMENT in the SOUND tab and pick an open hat. When the dialog asks, choose ONLY 4 STEPS — the rest of the track keeps the closed hat.
- Bass. Activate track 4, tap step 1 and pick a bass under MONO. Set its NOTE with the keyboard, then add a few more steps. Try TIE + GLIDE on a step for a 303 slide, and put SC RECV on the bass sound + SC DRIVE on the kick (same group) for that pumping feel.
- Press ▶. You have a loop. Tweak sounds while it plays — everything is live.
The song
- Open SNG. Your loop is part 1 of phrase P1. Set the part's length on the LEN row (16 beats is a good start).
- Tap the ▼ header of part 1 and use CLONE PATTERNS — then swipe the song cells of part 2 to bind the copies. Now edit part 2's patterns in TRK (browse parts with ‹ › in P mode): maybe drop the kick, thin out the hats — a break.
- Build the chain: in the slot row, set the song LENGTH to a few slots and swipe each slot to pick its phrase. A classic shape: intro (no kick) → main → break → main.
- Set BPM, and try TRP on a part — scale-aware sounds (your bass) transpose, drums don't.
- Open MST: balance the faders, push the snare's SND RVB and the bass's SND DLY (FX page on the sound), then set the return levels on BUS.
- Open PRJ, pick a free slot, tap SAVE and give it a color. Press ▶ in SNG and let it roll.
From here: LFOs on cutoff, RATCHET fills on the last bar, LOGIC 1/2 ghost snares, a SUPER pad with CHORD + SPREAD — and the ? button whenever you wonder what something does.