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This manual was updated on July 26, 2022.

Latest firmware at the time of writing: hapaxOS 1.10, released on July 26, 2022
Copyright Squarp Instruments 2022

2
Table Of Contents
1. Getting Started
1. Power
. . . . . . on
.....................................................................
2. Sequencer
. . . . . . . . . . .workflow
................................................................
3. Working
. . . . . . . . .with
. . . . projects
..............................................................
4. Selecting
. . . . . . . . .and
. . . . .configuring
. . . . . . . . . . .a. .Track
................................................
5. Connecting
. . . . . . . . . . . a. . synthesizer
..............................................................
6. Tweak
. . . . . . parameters
.....................................................................
7. Routing
. . . . . . . .midi
. . . . .inputs
. . . . . .&. .outputs
......................................................
8. Quick
. . . . . .tour
. . . . .of. .the
. . . .4. .modes
........................................................
9. Step
. . . . .mode
. . . . . .essentials
................................................................

2. Basics
1. Main
. . . . . modes
......................................................................
2. Live
. . . .recording
.......................................................................
3. Step
. . . . .mode
. . . . . .basics
................................................................
4. Upper
. . . . . . .&. .lower
. . . . . .bars
............................................................
5. Setting
. . . . . . .the
. . . .length
. . . . . .of
. . .a. .pattern
.....................................................
6. Play/stop
...........................................................................
7. Mute
. . . . . tracks
......................................................................
8. Track
. . . . . .types
.....................................................................
9. Quantize
...........................................................................
10. Project
. . . . . . .scale
....................................................................
11. Undo/redo
...........................................................................
12. Snapshot
...........................................................................
13. Assign
...........................................................................
14. Project
. . . . . . .tempo
....................................................................
15. Connectivity:
. . . . . . . . . . . . .MIDI/Cv
. . . . . . . . .inputs
.....................................................
16. Connectivity:
. . . . . . . . . . . . .MIDI/Cv
. . . . . . . . .outputs
.....................................................
17. Data
. . . . .architecture
......................................................................

3. Live mode
1. Overview
...........................................................................
2. Record
. . . . . . . your
. . . . . performance
...............................................................
3. Quantize
. . . . . . . . . your
. . . . . performance
.............................................................
4. Accross
. . . . . . . .live
. . . .and
. . . . step
. . . . .mode
......................................................

4. Livemode Scale
1. Overview
...........................................................................

3
 2. Basic
. . . . . operations
......................................................................
3. Scales
...........................................................................
4. Hold
. . . . .and
. . . . .relatch
.................................................................
5. Chord
. . . . . . .recognition
....................................................................

5. Livemode Chord
1. Overview
...........................................................................
2. Right
. . . . . hand
. . . . . .(chord
. . . . . . .generator)
.........................................................
3. Left
. . . .hand
. . . . .(voicing)
..................................................................
4. Auto
. . . . .inversion
......................................................................

6. Livemode Drum
1. Overview
...........................................................................

7. Step mode
1. Overview
...........................................................................
2. Piano
. . . . . .roll
. . . .overview
.................................................................
3. Basic
. . . . . operations
......................................................................
4. Note
. . . . . parameters
......................................................................
5. Note
. . . . . selection
......................................................................
6. Track
. . . . . .zoom,
. . . . . . pattern
. . . . . . . .length
. . . . . . .and
. . . .navigation
............................................
7. Loop
. . . . .points
......................................................................
8. Project
. . . . . . .scale
. . . . . .(pScale)
..............................................................
9. Note
. . . . . learn
......................................................................
10. Math
. . . . . (conditional
. . . . . . . . . . . . .trigs)
.........................................................

8. MPE Tracks
1. Overview
...........................................................................
2. Recording
. . . . . . . . . . and
. . . . .editing
............................................................

9. Drum Tracks
1. Overview
...........................................................................
2. Select/Rename
. . . . . . . . . . . . . . .a. .lane
..........................................................
3. Drum
. . . . . .lane
. . . . .MIDI
. . . . .routing
...........................................................
4. Velocity
. . . . . . . .view
...................................................................

10. Automation mode

1. Overview
...........................................................................
2. Creating
. . . . . . . . .an
. . .automation
. . . . . . . . . . . .lane
...................................................
3. Editing
. . . . . . .an
. . .automation
. . . . . . . . . . . .lane
.....................................................
4. Muting
. . . . . . .an
. . . automation
. . . . . . . . . . . .lane
.....................................................
5. Interpolation
...........................................................................

4
 6. Default
. . . . . . . value
....................................................................
7. Automation
. . . . . . . . . . . .lane
. . . . context
. . . . . . . .menu
...................................................
8. Copy
. . . . . ./. .paste
. . . . . .lanes
.............................................................
9. Recording
. . . . . . . . . . an
. . . automation
. . . . . . . . . . . .lane
..................................................

11. Pattern mode

1. Overview
...........................................................................
2. Patterns
. . . . . . . .playback
...................................................................
3. Launching
. . . . . . . . . .patterns
.................................................................
4. Synchronized
. . . . . . . . . . . . . .pattern
. . . . . . .changes
......................................................
5. Mute
. . . . . /. . unmute
....................................................................
6. Editing
. . . . . . .pattern
. . . . . . . .parameters
............................................................
7. Copy
. . . . . ./. .paste
. . . . . ./. .delete
...........................................................

12. Sections & songs

1. Sections
...........................................................................
2. Creating
. . . . . . . . .&. .launching
. . . . . . . . . .sections
......................................................
3. Editing
. . . . . . .a. .section
..................................................................
4. Songs
...........................................................................
5. Creating
. . . . . . . . .a. .song
................................................................
6. Playing
. . . . . . . .a. .song
.................................................................
7. Editing
. . . . . . .a. .song
..................................................................

13. Tracks
1. Overview
...........................................................................
2. Track
. . . . . .settings
.....................................................................
3. Advanced
. . . . . . . . . .track
. . . . . .settings
...........................................................
4. Rearranging
. . . . . . . . . . . . .tracks
..............................................................
5. Instrument
. . . . . . . . . .Definitions
.................................................................

14. Projects
1. Overview
...........................................................................
2. Saving,
. . . . . . . .loading
. . . . . . . .or
. . .creating
. . . . . . . . a. . project
..............................................
3. Project
. . . . . . .transitions
....................................................................
4. Setting
. . . . . . .a. .project
. . . . . . . scale
. . . . . .(pScale)
.....................................................
5. Time
. . . . .signatures
......................................................................
6. Transpose
. . . . . . . . . .track
. . . . . .(TRSP)
...........................................................
7. TRSP
. . . . .Transpose
. . . . . . . . . . .in. .practice
.........................................................
8. TRSP
. . . . .Match
. . . . . . .chord
. . . . . .in
. . .practice
......................................................

15. Effects
1. Overview
...........................................................................

5
 2. Adding
. . . . . . . .an
. . .effect,
. . . . . .tweaking
. . . . . . . . . parameters
.................................................
3. Advanced
. . . . . . . . . .operations
.................................................................
4. Locking
. . . . . . . .effect
. . . . . parameters
. . . . . . . . . . . .to
. . .patterns
...............................................
5. ModMatrix
...........................................................................
6. Arpeggiator
...........................................................................
7. Chance
...........................................................................
8. Euclid
...........................................................................
9. Filter
...........................................................................
10. Harmonizer
...........................................................................
11. LFO
...........................................................................
12. Randomizer
...........................................................................
13. Scaler
...........................................................................
14. Swing
...........................................................................
15. Env
...........................................................................
16. Project
. . . . . . .LFOs
....................................................................
17. Quantizer
...........................................................................

16. Algo
1. Overview
...........................................................................
2. Generatr
...........................................................................
3. Curves
...........................................................................
4. Symmetry
...........................................................................
5. Every
. . . . . .N. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

17. Settings
1. Overview
...........................................................................
2. Sync
. . . . .input
......................................................................
3. Sync
. . . . .output
......................................................................
4. Misc
...........................................................................
5. CV/Gate
.........+ . . pedal
................................................................
6. Midi
. . . . .input
......................................................................
7. Midi
. . . . .thru
......................................................................
8. Color
. . . . . .palette
.....................................................................
9. Midi
. . . . .monitor
......................................................................
10. How
. . . . .to
. . calibrate
. . . . . . . . . .the
. . .4
. . CV
. . . .outputs
.................................................

6
1. Getting Started
1.1. Power on

Plug the provided 15V power supply unit and Press the ON/OFF switch.

Hapax will quickly boot and be ready to use.

1.2. Sequencer workflow

Projects
Hapax can load and play two projects (proA, proB) simultaneously. Each project has
16 tracks.

Tracks
Each track has its own inputs & outputs, its own FX rack and a set of 8 patterns.

Patterns
A pattern is a loop that contains polyphonic or monophonic notes and/or
automation. Each Pattern has its own events, length, runmode, effect parameter
values, ...

7
1.3. Working with projects

Projects proA and proB are accessible directly through their dedicated button. Each
of them contains 16 tracks and can be played at the same time.

For smooth transitions you can seamlessly load a project on proB while proA is
running for never ending live sets!

Press proA or proB to select a project.

Hold proA or proB to enter project settings (left screen):

... and also enter the save/load menu (right screen):

1.4. Selecting and configuring a Track

Each project contains 16 tracks.

Press one of the 1..16 t rack buttons to select a track.

Hold t rack to enter the track settings menu : midi output, midi input, active pattern
length:

8
 Hold 2ND + Press t rack to enter the secondary settings menu:

The active track is indicated by a bright steady white light on the corresponding pad.

1.5. Connecting a synthesizer

Connect a MIDI cable between the input of your favorite hardware synth and one of
Hapax's output.

Hold the active t rack to enter Track settings menu.

Select the output port and the output channel (factory settings : MIDI A / Channel 1).

Press live Mode and Play with the 128-pad matrix

Press st ep Mode and enter some steps in the piano roll, and Press play : your
synth is now playing a sequence!

9
1.6. Tweak parameters

The group of 8 encoders always controls the left screen parameters, and the menu
encoder controls the right screen:

Tip Hold an encoder to reset a parameter to its default value.

Tip Hold 2ND and rotate encoders to scroll faster.

1.7. Routing midi inputs & outputs

Hold t rack to enter track settings :

TRACK OUTPUT
Every note of the track, whether coming from the built-in pad matrix , the
sequencer or an external keyboard, will be outputed on this port and channel.

TRACK INPUT
Input port : sets up which port the track is listening to.

Input channel : sets up which channel the track is listening to, depending on the
choosen port :
"--" : the track isn't receiving notes from any port.
"all active" : the track listens to all input ports, only when this track is active.

10
 "midi A" / "midi B" / "USB Device" / "USB Host" / "CV/Gate" : the track
only listens to the selected port. This setting is always active, even when the
track is not selected.

1.8. Quick tour of the 4 modes

Hapax is designed around 4 main modes :

live mode : use the 128 pads as a

scale keyboard or as a chord
generator (to change the livemode,
hold live and rotate the menu
encoder).

st ep mode : use the 128 pads to

add or fine tune notes (or drum events)
with surgical precision.

aut omat ion mode : use the 128

pads to create midi (or fx) automation.

pat t ern mode : perform in sync by

using the 128 pads to set the playing
pattern of each track. Create sections
(group of patterns). Chain sections to
build a song.

11
1.9. Step mode essentials

Press st ep to enter the Step mode.

Press any matrix pad to enter a note.

Press it again to delete the note.

Left screen parameters contains the default values for a note. Any newly added note
will inherit those values:

The upper-left parameter is the note displayed on the pad matrix's bottom row. By
rotating the corresponding encoder, you can scroll up and down in the piano roll
view. A viewport on the screen frames the notes displayed on the matrix pads :

Selection: Hold a Step already filled with a note to finetune any parameter. You can
also select multiple notes at the same time.

12
2. Basics
2.1. Main modes

Hapax offers four different interfaces, called modes, for playing and editing your
compositions :

live
Turn the pads into a MIDI keyboard.

st ep
Program your melodies and rhythms and view them on the piano roll.

aut omat ion

Draw some automation lanes, to control CC messages, effect parameters or CV
outputs.

pat t ern
Select, arrange and play your patterns.

2.2. Live recording

Press REC 🞉 while playing to capture your live performance, coming either from:
the live mode 128 keypads
an external MIDI instrument or controller
a modular system sending Cv/Gate
a computer
You can only record on the currently selected track.

Hold 2ND + Press set t ings to enter the Rec Settings:

13
2.3. Step mode basics

Press any matrix pad to enter a note.

Press it again to delete the note.

Left screen parameters contains the default values for a note. Any newly added note
will inherit those values:

The upper-left parameter is the note displayed on the pad matrix's bottom row. By
rotating the corresponding encoder, you can scroll up and down in the piano roll
view.

Selection: Hold a Step already filled with a note to finetune any parameter. You can
also select multiple notes at the same time.

2.4. Upper & lower bars

14
2.5. Setting the length of a pattern

Hold a t rack to enter its settings:

Change the length of the active track Pattern with the corresponding encoder.

Tip When in Live or Step mode, Hold 2ND + + or - to quickly double or halve
the track length.

Tip When in Live or Step mode, Hold 2ND + or to quickly double or halve
the Track length and duplicate the events of the page.

2.6. Play/stop

From stop state, pressing will start the project playback. If you are in a playing
state, pressing will restart all tracks from the beginning.
One press on stops and resets the playback, and disable the recording. It
will also send default automation midi values.
A second press will send a midi "All Note Off" message to your instruments.
A third press will send a midi "All Sound Off" message to instantly silence midi
synthesizers.
A fourth press will send all patterns midi Program Changes, if configured.

Tip When you are in step mode, working with multiple pages, pressing will restart
all tracks to the current page position.

15
2.7. Mute tracks

Hold mut e and Press one or more t rack buttons.

Selected Tracks start to flash: they form a mute group.

Release mut e to apply the mute state on selected tracks.

Track status on leds :

2.8. Track types

By default, the 16 tracks are set to track type POLY.

Hold st ep + Rotate the main encoder to choose the type of the active track, which
can either be a Poly track, a Drum track, or an MPE track.

Poly tracks
Best suited to polyphonic or monophonic synthesizers.

live mode can either be an isomorphic keyboard, to play notes directly on the pad
matrix , or a chord generator.

st ep mode is a fully featured step sequencer.

Drum tracks
Designed for grooveboxes and samplers, drum tracks are made of 8 drum lanes,
each having their own note values and channels.

16
 live mode is a grid of eight zones, one for each lane, divided into 16th velocity
levels. Use it to record and add nuances to your beats.

st ep mode is a drum-oriented step sequencer, in which you can edit your drum
lanes.

MPE tracks
MPE tracks are used to record and playback MPE performances.

live mode is similar to the Poly tracks live mode.

st ep mode offers the same functions as in Poly tracks, but gives you the possibility
to edit each expression parameter of any recorded MPE note.

2.9. Quantize

Hold 2ND + t rack to enter the secondary settings of a track.

Configure the real-time quantization amount/strength of the track with encoders ①

and ②, in order to soften the timing imperfections your recording, from "--" (quantize
disabled) to 1/16.

You can also configure a global Quantize for all tracks by holding proA or proB
and enabling Project Quantize :

17
2.10. Project scale

One major feature of Hapax is the ability to set a global scale for each project,
which will constrain all notes to the selected pScale. It provides a simpler interface
without “wrong” notes.

Hold proA or proB , enable pScale with encoder ① and select your favorite scale
and key with encoder ②, ⑤ and ⑥ :

You can set a new scale anytime and in real-time, itʼs a great studio tool to color
your song.

2.11. Undo/redo

To undo your last actions, such as parameter changes, new notes, or a recent
recording, simply Press the undo button.

Hold 2ND + Press undo to redo changes.

You can use undo/redo multiple times until you are back in the desired state.

2.12. Snapshot

Snapshot is both a performance and a studio tool.Hold snapshot to capture the

current version of your pattern : notes, automation, parameters...

Then play around with your pattern : change notes, parameters, add automation —
you always have the safety net that is your captured pattern. Press snapshot to toggle
between your captured version and your working version.

18
2.13. Assign
Hold 2ND + Press fi ll to display assignments on the left screen.

This submode allows you to remap the 8 encoders to any MIDI message, CV output
or FX parameter of your choosing :Press one of the 8 encoders and select the
destination.

Each track has its own set of 8x assignments. Perfect for using Hapax as a midi
controller, or doing automation knob-recording with midi messages.

Tip If you assign to a MIDI message, it will be interpreted as though it came from an
external controller, meaning you can do knob-recording!

2.14. Project tempo

BPM

Press bpm to open the BPM popup and:

Rotate the menu encoder to change the BPM value.
Press the menu encoder to select the after-decimal digits, then Rotate to fine-
tune the BPM.

19
Tap BPM

Press 2ND + regularly tap bpm button to set the tempo:

Time elasticity (phasing)

While BPM changes the global playback speed of both projects, you can use the time
elasticity feature to change the playback speed of each track individually.

Press bpm to enter BPM popup. Toggle menu encoder until elasticity % is
highlighted. Then Rotate menu encoder to change elasticity value (you can also fine-
tune the last digits).

For example, if the global BPM is set to 120.00, and you are working on track 01:
set elasticity to 50%: track 01 playback is two times slower = 60 BPM
set elasticity to 200%: track 01 is two times faster = 240 BPM
set elasticicity to 100.50%: track 01 is slightly faster and will slowly drift out of
phase with the other tracks. Phasing is the main concept used in "Steve Reich -
Piano Phase".

In Hapax, time elasticity is a way to achieve polyrhythms (two rhythms being played
concurrently).

20
2.15. Connectivity: MIDI/Cv inputs

Hapax can simultaneously receive MIDI from all 16 channels of each of its 4 inputs :
in A, in B, usb host (usually a controller), usb device (usually a computer).

It represents a total of 64 MIDI in channels, plus the two Cv in that can be used as a
Cv/gate input.

To link an external midi controller (sending midi events like notes, cc, pitch, ...) to one
Hapax track, Hold a track and select the input/channel.

To sync Hapax with an external source (make Hapax follow the BPM and play/stop),
press settings, enter sync in and set the clock source.

2.16. Connectivity: MIDI/Cv outputs

Hapax can simultaneously send MIDI to all 16 channels of each of its 6 outputs : A,
B, C, D, usb host (usually a controller), usb device (usually a computer).

This allows for a total of 96 MIDI out channels, plus the 4 pairs of Cv/gate outputs.

To link one Hapax track to a synthesizer, a drum machine, a Eurorack system,

another sequencer... : Hold a track pad and select the output/channel.

To send sync messages to midi (or gates) outputs : press settings and enter sync
output.

21
2.17. Data architecture

22
3. Live mode
3.1. Overview

live mode is the best place to start composing a track.

This mode turns Hapax into a MIDI controller that you can use to experiment and
record your music using the built-in pad matrix or an external keyboard.
Depending on the current type of your track, you will have access to three different
live modes :

Livemode scale
On poly or MPE Tracks, play some notes on the built-in isomophic keyboard, and
add a scale to quantize their pitch.
Hold live + Rotate the main encoder to switch to livemode scale.

Livemode chord
On poly or MPE Tracks, effortlessly build and play some colorful chords.
Hold live + Rotate the main encoder to switch to livemode chord.

Livemode drum
On drum tracks, play your drum kit with the pads, divided in 8 zones of 16th
velocities.
A simple Press on the live button will lead you to the livemode drum.

You will find many useful tools in those modes, such as a quantizer, scales and
chords generators, hold/relatch options, chord recognition, a live looper, and of
course a lot of real-time effects (arpeggiator, harmonizer, swing...).

23
3.2. Record your performance

Press 🞉 (and if your sequencer is stopped) to record your performance. When

you will start playing, you will notice that notes are starting to appear on the piano
roll screen.

Recording settings can be accessed through the REC menu.

Press 2ND + set t ings to enter this menu.

LEARN ON OFF

Toggle this parameter off to completely disable the note learn in st ep mode.

NOT ES HARD REC OVERDUB

When hard recording is selected, the previously recorded notes will be erased upon
a new recording. Overdub allows to merge incoming notes with the existing ones.

COUNT DOWN ON OFF

When enabled, Hapax will play a countdown before the recording starts. The track
must be armed beforehand with a Press on rec 🞉.

MET RONOME ON OFF

Enabling Metronome will output a quarter note when the sequencer is playing. The
output routing and other parameters of the metronome can be set in the misc.
set t ings .

PUNCH IN ON OFF

Press 🞉 to arm your track. If punch-in is enabled, Hapax will wait for the first
incoming note to automatically start recording.

24
 LOOPER AUT O LENG T H OFF

This option provides a way to capture your performances as if you were using a
looper pedal. The length of your track is not predefined, and will be determined by
the final length of your recording.
First, Press rec 🞉 to start recording a loop.
Press rec 🞉 a second time to stop recording. The track length will now be set, and the
track will start to loop.

Tip When recording with auto-loop, press the live-looped-track button to set the track
length while keeping REC enabled.

REC OFF END PAT T ERN OFF

If enabled, this parameter will allow the recoring to stop automatically when the
sequencer reaches the end of the pattern.

3.3. Quantize your performance

The real-time quantizer is very useful for correcting the timing of a live played
recording, or for applying rhythmical variations on a pattern.

Each track quantize parameters can be set independently. Hold 2ND + Press
t rack to enter the track secondary setting window:

Rotate encoder ① to enable and set the rate of the quantizer. 1/16 is the coarsest
setting, 1/64 is the most precise.

Rotate encoder ② to set the strength value of quantization.

While 100% strength value will apply maximum quantization to the notes, lower
values will allow the notes to be slightly off grid.
Tweak this parameter to taste to find the balance between straight and swung feel in
your tracks.

25
3.4. Accross live and step mode

Any note recorded in live mode can be seen and edited in st ep mode.

Moreover, all notes and chords played on an external controller or using the live
mode keypads are captured in step mode and displayed on the left screen under
LEARN. Those learned notes can be added with a single press of a pad in st ep
mode.

Click encoder ② to enable the LEARN edit:

To exit the LEARN edit, click encoder ① or ②.

Tip Press 2ND + set t ings and Rotate encoder ① to completely disable midi
LEARN.

26
4. Livemode Scale
4.1. Overview

In this mode, the pad matrix are forming an isomorphic keyboard. This
leverages the property of transpositional invariance, very useful for playing chords in
various keys:

Any given sequence and/or combination of musical intervals has the

same shape when transposed to another key.
- Wikipedia

By default, this isomorphic keyboard is chromatic, with a row-jump of 3 semitones :

for any given pad, the pad to its right plays 1 semitone up, and the pad above it
plays 3 semitones up.

When applying a scale, the keyboard will no longer add 1 or 3 semitones, but will
move up by 1 or 3 degrees of the scale. For example, in chromatic mode, a pad up
would translate into a minor 3rd jump, whereas in a major key, it would give us a
fourth jump.

27
4.2. Basic operations

Press or to set the octave of the lowest note of the pad matrix.

Rotate encoder ① in order to set the lowest note of the pad matrix.

Rotate encoder ② to enable hold or relatch.

Rotate encoder ③ to set the row jump.

Rotate encoder ⑤ to change the scale color.

Rotate encoder ⑥ to change the scale type.

4.3. Scales

COLORS
Hapax comes with 72 factory scales, sorted by families called colors.
Scales of the same color are sharing the same third and/or seventh degree, so that
you can replace a scale by another of the same color without radically changing the
feel of you track. The different colors are listed below :
None / Chromatic
Major
Minor
Dominant
Suspended
Half-Diminished
Diminished
Messian
Intervals

28
 SCALES
Major: Major, Harmonic, Augmented, Pentatonic, Pentatonic (V), Pentatonic
(ionian), Arabic
Minor: Dorian, Aeolian, Phrygian, Japanese, Spanish, Pentatonic, Pentatonic
Dorian, Pentatonic Pelog, Blues, Romanian, Gypsy b7, Hawaiian, Melodic,
Harmonic, Diminished, Gypsy
Dominant: Myxolidian, Arabic, Blues, Pentatonic, Pentatonic (IV), Pentatonic (D
II), Lydian, Melodic Major, Phrygian, Diminished, Tritone, Altered, Rock n Roll,
Whole Tone, Inverted (Aug)
Suspended: Mixolidian, Pentatonic, Ritusen, Dorian (b2)
Half-Diminished: Half-Diminished, Locrian, Pentatonic minor b5
Diminished: Diminished, Half Tone, Romanian, Ultralocrian, Blues Heptatonic
Messian: 2nd mode T, 3rd mode, 4th mode, 4th I mode, 5th mode, 5th I mode,
6th mode, 6th I mode
Intervals: minor thirds, major thirds, fourths, fifth octave, octave

4.4. Hold and relatch

Hold and Relatch options are accessible through the "PLAY" parameter on the left
screen. All held or relatched notes will remain highlighted on the pad matrix.

Rotate encoder ② to enable Hold or Relatch.

HOLD
The classical toggle mode. When notes are played, they will be held until the same
notes are played again.

RELAT CH
The held notes will be replaced by any new input of notes.

Tip Hold is very useful when designing drones/synth pads or experimenting with
effects, such as an arpeggiator.

29
4.5. Chord recognition

The name of the currently played chord is displayed under the keyboard
representation on the left screen. The number between brackets is the inversion index
of this chord.

For example, when you play (C - E - G), Hapax recognizes a Cmaj, as well as a
second chord name : Em6 in second inversion:

Here are the conventions used for chord naming :

Major Chords
Minor Chords
Half-Diminished Chords
Diminished Chords
Suspended Chords
Polychords

30
5. Livemode Chord
5.1. Overview

This mode gives you access to a large variety of chords, harmonized to the currently
selected scale, and can be used to generate complex harmonies for your tracks.

The interface is meant to be played with both hands. The left side is focused on
inversion, spread, drop, alter, and general enrichments. The right side is where the
basic degrees of the chord are played.

Although it is based on musical theory, no particular knowledge is required for using

this mode. It has been designed to quickly try and listen chords until you find
something you like.

The pad matrix is divided into two main areas :

31
 RIGHT HAND
Press some of the bottom pads to input your initial chord.

LEFT HAND
Press a pad of the left part of the pad matrix . A modifier will be added to the
modifiers list. You can stack up to 8 modifiers per track to enrich and perfect your
chord.

5.2. Right hand (chord generator)

Press a chord pad on the pad matrix to play a chord.

Rotate the scale encoder to change the selected scale. If pScale in enabled, pScale
will be used in this mode.

Each chord pad represents a scale degree : if the pentatonic scale is set, five chords
will be available on the pads, as this particular scale contains five degrees.

Scales, when used as basis for chords, entails vast possibilities, which are yours to
discover.

Major scale example

Harmonizing a scale is done by stacking thirds of a scale.

C Major Scale harmonisation leads to those chord degrees :

Maj7, min7, min7, Maj7, Dom7, min7, half-dim.

32
5.3. Left hand (voicing)

The chords that are generated by pressing the bottom pads are in their common root
position.
If you want to spice things up, it's time to add some modifiers. You can stack up to 8
modifiers for a chord. Their order in the list have an influence on the processing
order, and thus on the output.

Press a modifier pad to momentarily add a modifier to the list.

Hold 2ND and Press a modifier pad to add/remove it from the list.

The different modifier descriptions are listed below :

Octave
Octave +/-1: Every note is raised/lowered by one octave.
Octave +/-2: Every note is raised/lowered by two octave.

Spread

Spreads the chord notes across octaves. Spreaded chords have a very pleasant
sound, especially if they are complex chords.

Spread up: raises one chord tone out of two.

Spread up ++ to raise it more.
Spread down: lowers one chord tone out of two.
Spread down -- to lower it more.

Rotate
Chord inversions are displayed under the keyboard representation on the left screen.
Inversions are great for making chords match with each other.

33
Voicings

Voicings refers to the placement of the notes in the chord structure. How a musician
will rotate, spread and double notes.

Spread up & down: applies spread up and spread down at the same time
Wider Interval Down: rotate chord until wider interval is in the lowest part of
the chord.
Quartal voicing: no thirds, only fourth.

Extended chord qualities

power chord: root & fifth only.
sus2: 3rd is replaced by a 2nd.
sus4: 5th is replaced by 4th.
add 6th: 7th is replaced by 6th.
add 6/9: 7th is replaced by 6th and 9th added.
Kenny Barron (11): add 9th & 11th. Mostly used on minor chords

Bass (Drop)

Lowers (one octave) one of the chord tones.

bass root: drop the root note.

bass third: drop the third.
bass fifth: drop the fifth.
bass seventh: drop the seventh.

Transpose

Transpose by semitones all chord tones at once.

transpose +1/+2/+3/+4: transpose semitones up

transpose +5: is equivalent to a perfect fourth up
transpose +7: is equivalent to a perfect fifth up

34
5.4. Auto inversion

It's purpose is to enable a well known pianist skill. From one chord to another, move
as few fingers as possible.

Auto inversion is listed as a modifier: enable it by pressing the red modifier pad.

35
6. Livemode Drum
6.1. Overview

Drum tracks are specially intended for drum machines, grooveboxes and samplers.
In livemode drum, the pad matrix is divided in 8 zones, corresponding to the 8
drum lanes of the track.

Hold st ep and Rotate the main encoder to switch the track type to drum.

Then, Press live to enter the livemode drum.

Pressing a pad will trigger a sound mapped to the corresponding lane. The velocity
values are indicated by the brightness of each pad.

Rotate one of the eight encoders to change the lane note number.

Hold & Rotate an encoder to change the lane output channel/gate number.

Tip for a more in-depth configuration of drum lanes, you can have a look at the
chapter about stepmode drum.

36
7. Step mode
7.1. Overview

The st ep mode is a different way to create rhythms and melodies. Unlike the live
mode — where you perform in real-time using the matrix keypads — the st ep
mode allows you to “program” sequenced events directly into the current track.
st ep mode is a great way to get the best out of your synthesizers and drum
machines.

Hapax a 128 pad matrix to program your step-by-step rhythms and melodies
effortlessly and efficiently. You are free to extend the length of your track up to 32
bars. In conjunction with extreme zooms, conditional trigs, chance, loop points,
selection, scale folding, run modes, possibilities are endless!

The st ep mode also allows you to edit a previously recorded live performance,
using the piano roll view.

The st ep mode, like the live mode, always displays events of the active track
and selected pattern. Each pattern of each track has its own events.

7.2. Piano roll overview

The piano roll displays the full length of the current pattern on the right screen. The
grayed out area, called viewport, displays the portion of the page that is shown on
the pad matrix :

37
 The pad matrix always displays the current page, depending on the current
zoom and track length settings:

The lower-left pad always represents the note set in the upper-left corner of the right
screen.

Tip In case you are lost in the piano roll, a simple Press on st ep will automatically
focus the pad matrix onto the closest note.

7.3. Basic operations

Press a pad of the matrix to add a note.

Rotate encoder ① to set the lower-left note of the pad matrix . You can also use
the main encoder (or Hold 2ND + or ).

Rotate encoder ② to set the octave. You can also Press or .

Rotate the other encoders to change their corresponding parameters.

Hold t rack to enter the track settings.

Press + to zoom in, Press - to zoom out.

Press or to navigate between pages.

Tip Hold 2ND + or to double or halve the length of the pattern.

Tip Hold 2ND + + or - to duplicate/divide the pattern along with its events.

38
 Tip Hold a pad of the matrix to override the global parameters with the ones
contained in this pad.

7.4. Note parameters

Each note event includes its own set of 8 parameters : Note & Octave, Velocity,
Length, μTime, Chance, Roll, Math.
Step parameters are visible on the left screen. Each one of them is connected to its
own encoder :

To modify the parameters of a pad or a selection of pads, Hold the pad or the zone.

PIT CH + OCT AVE C0 (0) ... G 10 (127)

Sets the midi note pitch & octave.

VELOCIT Y 0 ... 127

Sets the midi note velocity.

NOT E LENGT H 1/16 INFINIT Y

Sets the length of the note in steps. A step corresponds to a 16th note when using the
default zoom. Infinite notes won't stop or be retriggered until the button is pressed.

uT IME -50% +50%

Time offset : slightly moves the note around its central step position. On the right (+)
the note will be delayed, on the left (-) the note will play sooner.

CHANCE 0% 100%

Sets the probability for the note to be played.

39
ROLL 1/8 1/256

Note will throughout its length (ratcheting)

MAT H /SYNC SYNC, /PREV PREV /1ST 1ST ...

Conditional trigs allow you to set a condition to a note to be played. Here are some
examples :
1:2 — note plays the 1st time, every 2 loops
2:3 — note plays the 2nd time, every 3 loops
/2:4 — note not plays the 2nd time, every 4 loops
FILL — note plays if the fill button is pressed
/FILL — note plays if the fill button is released
PRE — note plays if last condition of track was valid
SYNC — note plays if added on 1st step of a beat
ON=0 — plays only if no other notes are played
LB<5 — plays if last beat played less than 5 notes

Tip When scrolling through the Math parameter, RGB leds are dimmed to highlight
events with the same Math parameter. This visual feature also works for Roll and
Chance parameters.

Tip Hold an encoder ①...⑧ to reset a parameter to its default value. For example,
Hold all to select all notes, and Hold the uTime encoder ⑤ to quantize all notes to
their closest time position.

40
7.5. Note selection
You can select one, or a group of notes to edit all their parameters at the same time.

SINGLE-EVENT SELECTION

Hold a note on the pianoroll. The pad color will change and the selected note
parameters will be displayed on the left screen.

Keep holding the pad and rotate one of the ①...⑧ encoders to change the
corresponding parameter.

Tip Hold a note pad momentarily to override the global parameters values with the
values contained in this note.

MULTIPLE-EVENTS SELECTION

Hold a pad on the piano roll, then Hold another pad to select multiple notes. You
can now edit the parameters of all the notes contained in your selection.

You can Hold all to select all events, or Hold a row to select a single row of
events across the pattern.Hold more than one row to select a range.

While selecting steps :

Press or to move your selection left/right

Press Up or Down to move your selection up or down
Press mut e to mute/unmute your selection

Tip By default, a multiple-events selection will select all notes on the vertical axis
inside your selection. Hold 2ND while making your selection to constrain your
selection to the selected notes.

Tip Press 2ND during an all or row selection to toggle between single-page
and all-pages selection.

Tip Pressing + or - will either rotate or warp your selection, depending on the
MISC setting "Select +/-".

41
WARPING

When a multiple-events selection is active, you can warp your events in time by using
+ and - .
In other words, you can compress or expand rhythms.

Example 1
1. In zoom x1, place three events on consecutive pads, to create three 16th
notes.
2. Now select these events, making sure the selection spans exactly three
columns, i.e. three 16th notes.
3. Press + .
The three events now span four 16th notes, and are still regularly spaced, which
results in triplets.

Example 2
1. In zoom x1, place five events on consecutive pads, to create five 16th
notes.
2. Now select these events, making sure the selection spans exactly five
columns, i.e. five 16th notes.
3. Press - .
The five events now span four 16th notes, and are still regularly spaced, which
results in quintuplets.

Of course, you can press + and - multiples times, and program complex rhythms,
polyrhythms and swings easily.

42
7.6. Track zoom, pattern length and navigation

LENGTH

Each of the 8 patterns of each track can have a different lengths. The track length can
be set between 1 and 32 bars.

To set it, Hold a t rack and use encoder ⑥. You can Hold + Rotate encoder ⑥ to
increment the length in steps.

Tip Quick length modifiers :

Hold 2ND + + to double pattern length

Hold 2ND + - to halve pattern length
Hold 2ND + to double pattern length and copy events
Hold 2ND + to halve pattern length and delete events

ZOOM

Press + or - to zoom in or out.

Press + and - at the same time to Toggle between regular and triplet zooms.

NAVIGATION

A page is what you can see on the matrix pads , represented by the grayed out
area on the pianoroll screen, called viewport.
When increasing the track length or zoom values, the viewport will exceed one page.
The pianoroll screen will always display the entire pattern with all its pages.

Press or to navigate to previous or next page.

7.7. Loop points

Loop points allow you to set up in real-time where your pattern begins and ends.
Only the pattern inside your loop points will be played. You can set different loop
points for every pattern within every track.

When composing, it is a great way to loop a small part you want to focus on. When

43
 performing, you can play with track positions and create interesting effects like beat
repeats or polymeters.

Hold and Press one of the 1...16 t rack buttons to set your loop point start.

Hold and Press one of the 1...16 t rack buttons to set your loop point end.

Press both + to remove the loop points.

7.8. Project scale (pScale)

Hold proA or proB to enter the project settings.

Rotate pScale param to ON to enable pScale on this project.

When a global pScale is enabled, the matrix pads only show the notes of the
selected scale:

There are never more than 8 notes in a scale, so the 8 rows will always show the
same note. For example, if the key note of the scale is F, the bottom row will always
display the F note of the selected octave.

Once pScale is enabled, only in-scale notes can be added with the matrix pads. The
vertical navigation in the pianoroll is now octave by octave. This simpler interface
garantees that no out-of-scale note can be added anymore.

Tip After setting the project pScale, you can enable it for individual tracks in their
secondary setting window.

44
7.9. Note learn

All notes and chords played on an external controller or using the live mode keypads
are captured in step mode and displayed on the left screen under LEARN. Those
learned notes can be added with a single press of a pad in st ep mode.

Click encoder ② to enable the LEARN edit:

To exit the LEARN edit, click encoder ① or ②.

Tip Press 2ND + set t ings and Rotate encoder ① to completely disable midi
LEARN.

7.10. Math (conditional trigs)

Also known as "Conditional Trigs" in the sequencing vocabulary, the math operations
are conditions that you can add to individual events to modify their behavior.

A "/" before a condition means "NOT". For example /FILL has the opposite behavior
of FILL.

FILL
FILL: note plays only when fi ll is held.
/FILL: note plays only when fi ll is not held.
CONDIT IONAL
1st: note plays on first pattern playback.
/1st: note does not play on first pattern playback.
PREV: note plays if last condition was valid (project level).
/PREV: note plays if last condition was not valid.
The condition PREV is based on a project level.

SYNC
SYNC: note plays if added on 1st step of a beat.

45
 /SYNC: note plays if not added on 1st step of a beat.
ONS
ON=0: note plays only if no other notes are played.
ON<2: note plays if less than 2 notes are played.
ON<3: note plays if less than 3 notes are played.
ON<4: note plays if less than 4 notes are played.
ON<5: note plays if less than 5 notes are played.
These conditions are based on a project level.

LAST ST EP / LAST BEAT

LS=0: note plays if last step played zero notes.
LS<2: note plays if last step played less than 2 notes.
LS<3: note plays if last step played less than 3 notes.
LS<4: note plays if last step played less than 4 notes.
LS<5: note plays if last step played less than 5 notes.
LB=0: note plays if last beat played zero notes.
LB<2: note plays if last beat played less than 2 notes.
LB<3: note plays if last beat played less than 3 notes.
LB<4: note plays if last beat played less than 4 notes.
LB<5: note plays if last beat played less than 5 notes.
These conditions are based on a project level.

ONE IN...
1:2… x:y … 1:16 : play the note x time each y loops
/1:2… /x:y … /1:16 : does not play the note x time each y loops

Tip When fi ll is held, all programmed or recorded events are forced with Math =
FILL.

46
8. MPE Tracks
8.1. Overview

MPE, or Midi Polyphonic Expression, is a recent specification of musical instruments

data exchanges, based on MIDI.
It allows to play a synthesizer in an expressive, articulated way, that approaches the
sound and feel of acoustic instruments. Hapax can record MPE controllers, with which
you can simultaneously modulate several parameters on distinct notes, like timbre,
tonality, pressure or volume.

In HapaxOS V1.0, the MPE and poly track types are very similar.

8.2. Recording and editing

Recording a track using an MPE controler is the same process as described in the
"Record your performance" Live section of this manual.

To edit an MPE track, you can use the same basic operations, parameter editing and
note selection techniques that are described on this page. The MPE per-note
expression controls can't yet be visualized and edited, but they are contained in the
note pads of Hapax. This means you can move notes around, use copy, paste and
every other tool at your disposal for editing your MPE recordings.

HapaxOS is evolving and will soon allow editing on expressive parameters for each
note of an MPE track.

47
9. Drum Tracks
9.1. Overview

The drum track type is particularly suited for drum machines, grooveboxes and
samplers.

Once in step mode, Hold st ep and Rotate the menu encoder to set the track type
to drum, and enter the drum step mode.

In drum step mode, each percussive element, along with its events, corresponds to a
drum lane.

There are 8 lanes in total :

48
 This step mode shares basic operations, selection & editing, copy/ paste, mute and
loop points with the poly and MPE step modes.

A drum note as the same parameters as any other note: Velocity, Length, µTime,
Chance, Roll and Math.

The principal difference is that instead of pitch & octave parameters, a drum note has
a midi note and a midi channel, defining which drum element the lane will trig.

9.2. Select/Rename a lane

In drum tracks, events are organised in drum lanes. There are 8 drum lanes, named
by default as follows:
1. Kick
2. Snare
3. Closed HH
4. Open HH
5. Low Tom
6. Hi Tom
7. Hand Clap
8. Cowbell

To select a drum lane, you can either:

Rotate the main encoder
Press the row button corresponding to the lane

49
 To rename a lane, start by selecting it, then Press the menu encoder.

Tip To quickly mute an entire lane, Hold a row button and press mut e . You can
repeat this operation to unmute the lane.

9.3. Drum lane MIDI routing

A lane is characterized by its corresponding note. This means that events in a drum
lane will always trig the same note. This is ideal for working with drum machines,
which usually expect a given note for a given drum element.

Each lane can have its own particular pair of note/channel. It is also possible to have
a lane triggering a gate output : you can mix and match multiple machines to create
your drums ensemble.

To change the midi note & channel output of a lane, Hold a row to select the lane,
then rotate encoders ① and ② :

not e 0 ... 127

Sets the note played by this lane.

By default, this parameter sets both the note that will be outputed by the lane and the
note that the lane will listen to (the trigger note).

To set a different trig note, Press + Rotate encoder ①. The input channel of the trig
note can be set in the track settings.

Example: Note = 48 and Trig Note = 23.

If you play note 23 on an external controller, this lane will be trigged, and will
output note 48.

channel 1 ... 16 G at e 1 ... G at e 4 Cv 1 ... Cv 4 Cv/G at e 1 ... Cv/G at e

Sets the channel of the lane (each lane can have a different MIDI channel).

A lane can also trig its drum events on a selected Gate output or a Cv output (a Cv
output will act like a gate, with 0/5V trig levels).

50
 You can even use the "Cv/Gate" output to perform with drum accents (the gate will
trig the event, the Cv will output the drum velocity).

Tip By default, the channel of drum lanes follow the channel of the track. Once it has
been changed manually, it is independant from the track's channel.

Tip Hold one or multiple row buttons and Rotate encoder ① or ② in order to
change all selected lanes parameters at once.

Note On drum tracks, the midi output channel defined in the track settings does not
affect the lanes outputs, although it will be used for midi automation output.

9.4. Velocity view

To enter velocity view mode, Hold 2ND and Press a row to select the lane you
want to edit.

In this submode of DRUM, the matrix pads show the note velocities of the selected
drum lane. Press a pad to change the velocity of an existing note.

To exit velocity view, simply press st ep .

51
10. Automation mode
10.1. Overview

The aut omat ion mode enables you to record and draw automation curves into
lanes. Automation lanes can emit CC messages, control the effect parameters of their
track, and even output control voltages.

Each track can hold an unlimited number of automation lanes, and each pattern of a
track can have different automation events.

10.2. Creating an automation lane

The automation screen is divided in lanes. Scroll to the bottom of the list, and click on
"+ ADD". You will be prompted to choose a destination, which represents what you
wish to automate.

Available destinations are:

CC messages
Pitchbend
Aftertouch
Program changes
NRPN messages (Non-Registered Parameter Number)
CV in (for recording purposes)
CV out
Effect parameters

52
Once the automation lane is created, simply Press some pads on the matrix to
add or remove automation points (events).

Tip Hold 2ND and Press a pad to put an event at the very end of the step for
sharp transient:

In the example below, 6 automation lanes are created on the current track:

cc8 has events

cc14 is locked
aftertouch is muted
CV out 2 has no events
Pitchbend has a default value
NRPN has events

Tip You can create a curve before selecting a destination. Simply Press some pads
when "+ ADD" is selected. This will create a void lane, with no destination. You can
click the lane and assign its destination later. This helps sketching out ideas quickly,
and store curve shapes that you like for later use.

53
10.3. Editing an automation lane

To modify the parameters of an existing automation point, Hold a pad filled with an
event. Its value will be displayed on left screen and the pad color will change. Scroll
the associated encoder to fine-tune displayed value (e.g. 0 to 127 for a midi CC
message).

When performing a multiple selection, you will have access to the minimum and
maximum values, as well as a parameter called centroid, which moves the central
value of the curve:

10.4. Muting an automation lane

Simply scroll to the desired automation in the list, and press mut e to mute this
automation lane.

Note Mutes are per-pattern based.

Tip When a lane is muted in the current pattern, the lane shows an "M" status icon.

54
10.5. Interpolation

When this parameter is active, you can quickly draw lines and curves using very few
automation events. This saves memory and time, and can be easier for drawing
certain shapes. Upon disabling this parameter, the sequencing becomes stepped,
meaning that values will be held until the next change.

Interpolation ON:

Interpolation OFF:

The default status is always ON for automation lanes created manually. However,
recorded automation are not interpolated by default, to keep the recording faithful to
the original.

Tip Thanks to interpolation, which is active by default, you can draw a ramp using
only two points :

55
10.6. Default value

Encoder ⑥ allows you to define a default value that will be used when the automation
lane is empty. Automation events are stored per pattern.

Default values are useful to send fixed values, without the need of creating any
automation event. It also allows to reset a parameter upon a pattern change.

Example : setting a default value of 0% on the pitchbend automation can be smart, to

make sure that the pitchbend is reset upon switching to a pattern that does not
automate pitchbend.

Tip If the default value is active on the current pattern, the lane will show the
following status icon: "····"

56
10.7. Automation lane context menu

Click on an automation lane to access additional features and actions :

CLEAR EVENTS
Deletes all events on the lane, for the current pattern.

DELETE LANE
Deletes the lane from the entire track. All events in all patterns will be deleted as
well.

CHANGE DESTINATION
Changes the destination of a lane, without altering the events.

Note Data definition might change, depending on source and destination types :
16bits CV data will be downscaled to 7bits CC data.

COPY
Copies the automation lane events of the current pattern and destination.

PASTE
Used in conjunction with "copy", allows to paste an entire automation lane.

MAXIMUM RATE (192ppqn ... 1ppqn)

To avoid saturating a device with too many messages, automation lanes can be
configured to output at a given maximum rate. For example, at 24ppqn, an
automation lane can send a message at most 24 times per quarter note.

Tip While this is primarily intended as a safety feature, to not overload a MIDI
device's bandwidth, it can have musical applications, as well. Limiting the max rate to
4ppqn, for instance, will send a message once every sixteenth note at most, which
can create very rhythmical parameter changes. This is akin to a sample-and-hold
function.

LOCK
With this parameter ON, the lane's automation events cannot be modified. Pressing
pads has no effect. Recording will not overwrite the lane events, nor record new ones

57
 for this lane.

Tip This can prove useful to save a "CV in" performance, as an unlocked "CV in"
lane will always be overwritten.

Tip When a lane is locked, the lane will show the following status icon: 🔒
10.8. Copy / paste lanes

Hold an encoder while "+ ADD" is highlighted to open a different context menu.

INSERT
Equivalent to clicking on "+ ADD".

PASTE
In coordination with "copy", this pastes an entire automation.

PASTE TO...
Same as "paste", with the added option of choosing the destination of the pasted
events.

10.9. Recording an automation lane

When REC 🞉 is active, you can record incoming data as an automation for the active
track.

For MIDI messages recording, such as CC, pitchbend or aftertouch, the lanes are
created automatically, as soon as a event is received (with interpolation set to OFF) :

For CV in recording, lanes must be created before recording.

58
Note Recording of program changes and NRPN messages is not supported.

Tip To prevent overwriting a lane with incoming data, you may use the "Lock"
function (see context-menu below).

59
11. Pattern mode
11.1. Overview

Once your tracks are created, the pat t ern mode enables you to play with your
128 patterns and to arrange them into a song.

Each Pattern is a loop that contains polyphonic or monophonics notes and

automation. Patterns hold their own events, lengths, runmodes, effect parameter
values, ...

Unlike most sequencers, each track is independant from the others: you can play
track 01 pattern 3 and, at the same time, track 02 pattern 4.

On the matrix pads, each columns represent the eight patterns of the 16 tracks:

60
 Tip From any mode : Hold pat t ern + any matrix pad to quickly select (and
instantly launch) the pattern you want to edit.

Pattern mode has two playback types that you can choose from, using encoder ① :
PERF — for live performing your patterns (default).
SONG — see Sections & songs chapter below.

11.2. Patterns playback

On the left screen, you can see the progress bar for each patterns playing in
concurrency. As each pattern have its own length, the progression % may be
different, leading to polymetric effects.

This screen also displays the content of your tracks. In the upper example:
Track 1, 2, 3, 4 contain only notes
Track 5 contains notes and automation
Track 6 contains only automation
Track 9 contains only drum events
Track 13 contains only MPE notes
Other tracks are empty (no events in any patterns)

11.3. Launching patterns

There are 2 ways to launch patterns:

Press a matrix pad to select the playing patterns of a track.
Press one of the 8 row buttons to launch, at the same time, the 16 patterns of
the row.
This is the classic sequencer workflow, where one sequence = a set of 16
parameters

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11.4. Synchronized pattern changes

In order to ensure proper musical timing in regard to pattern changes, pattern mode
has a "SYNC" option. This allows you to schedule a change, for it to occur perfectly
on the next beat, the next bar, or whichever time division you choose.

Rotate encoder ② to set the sync division. Pattern leds blink when waiting to changes.

Tip When using "SYNC = PTRN", the new pattern will be launched when reaching
the current one's end.

On the left screen, a bar is showing the progression % of the selected sync:

11.5. Mute / unmute

It is not possible to mute a single pattern, but you can mute a track by holding
mut e and pressing one or several t rack buttons.

A muted track will never output midi events, either coming from an external
controller, the live mode, the step mode or midi effects.

Tip Selecting an empty pattern is an other easy way to cut a certain track. Please
note that this method does not mute incoming messages, or messages generated by
effects.

11.6. Editing pattern parameters

Like st ep and aut omat ion modes, pat t ern mode responds to single and
mutliple selections.

Hold a pad to edit a specific pattern's parameters, namely:

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 Run -- re ve rse ping-pong random bar random be at random 1/16

Sets the pattern playback mode. It can be played normally, in reverse, in ping-pong,
or randomly (every bar, every beat, every 16th note).

Lengt h 1 st e p ... 32 bars

Sets the duration of the pattern, in 16th notes (encoder ⑥ can be held while choosing
the length for precise increments).

PC (LSB, MSB)
Program change midi messages to be sent when transitioning to this pattern. Optional
extended PC logic with MSB/LSB.

T rig f re e re st art

"restart" will reset the new pattern position to its beginning after a pattern change.
Default value "free" will keep the previous pattern position : the playhead will not
jump.

Multiple pattern selections are only possible within a given track, so the selection
cannot span across multiple columns.

Tip Press 2ND while making a selection to restrain it to the selected area.

Note These are the same pattern parameters accessible from Hold t rack .

11.7. Copy / paste / delete

Patterns can be copied, pasted and deleted, even from track to track.

To copy a pattern, Hold copy + Press a pad.

To paste a pattern, Hold past e + Press a pad.
To delete a pattern, Hold delet e + Press a pad.

Please note that only one pattern can be copied at a time. This means the copy and
past e buttons will have no action if you are selecting more than one pattern.

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12. Sections & songs
12.1. Sections

While the pads are very convenient to perform patterns by hand and following
your instincts, you might want more control using written “sections”.

A section is a precise arrangement of patterns.

Let's see some examples:

We need a section called "Intro", with track 1 to track 4 playing pattern 2, and other
tracks playing pattern 1.
On the grid, it would look like :

Now we need a section called "Verse", with track 1 to track 3 playing pattern 1, and
the other tracks playing pattern 2.
On the grid, it would look like :

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12.2. Creating & launching sections

Sections and songs configuration options are displayed on the right screen of the
pat t ern mode :

Creating a section

To create a new section, first use the grid to choose the desired arrangement of
patterns for the section.

Then, Rotate the main encoder and scroll to "SAVE SECTION". You will be prompted
to choose a name for the section. Once saved, the section is added in your pool of
available sections.

Note By default, sections are named "section A", "section B", and so on.

Launching a section

To launch a section, (recall all pattern states for the 16 tracks), Rotate the main
encoder to select the section, then Press the main encoder.

Note Similarly to manual pattern changes, sections are launched in sync, according
to the "SYNC" parameter.

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12.3. Editing a section

To edit a section, Hold 2ND + Press the main encoder to open the section context
menu, which offers the following options:

LAUNCH>
Resets the song cursor to this section.

OVERRIDE
Replaces the previous pattern arrangement with the current one.

RENAME...
Allows to change the name of the section.

MOVE
Allows to rearrange this section position within the song.

DELETE
Removes this section from the song.

12.4. Songs

A Song is an arrangement of previously created sections. This makes it very easy to

create complex songs using sections as building blocks, for example --intro x1 --verse
x2 --chorus x1 --verse x4 ...

When the pattern mode is in song mode, the song will automatically play sections in
order, and schedule the next sections in advance. Any manual change performed on
the grid will still occur, but will eventually be overriden by the song's next scheduled
section.

To toggle between section tab and song tab, simply Press pat t ern .

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12.5. Creating a song

First, Press pat t ern once to enter the song tab.

Note You need to create at least one section to start creating a song.

Then, to add a section, scroll to the desired position and Pressthe main encoder. You
will be prompted to choose the section to add, and its desired duration at this point
in the song.

Tip When selecting the duration, you can Hold and Rotate the menu encoder for
more resolution, enabling very short sections and polymeters.

Tip You can use the same section multiple times.

12.6. Playing a song

On the left screen, instead of using "PERF" option, select one of the 2 song modes :

SONG PLAY
The song will stop playback when reaching its end.

SONG LOOP
The song will play in an infinite loop.

Press the button to start the song playback.

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 Tip When a song is playing, itʼs possible to set the mode to PERF : the song playback
will be paused, allowing you to do live improvisation, manual pattern change, ...
Then you can go back to SONG PLAY or SONG LOOP to continue the song
playback.

12.7. Editing a song

Press the main encoder on a section to open a context menu.

LAUNCH
Schedules this section in the song list.

SET TIME
Sets the duration of the section in the song.

MOVE
Allows to rearrange this section position within the song.

DELETE
Deletes this section from the song.

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13. Tracks
13.1. Overview

The 16 tracks of a project hold 8 patterns each. They also have a type (POLY, by
default) and several parameters which define their input and output channels,
runmodes, ...

Each project contains 16 tracks.

Press one of the 1..16 t rack buttons to select a track.

Hold t rack to enter the track settings menu : midi output, midi input, active pattern
parameters (PC, length, run mode, trig) :

Hold 2ND + Press t rack to enter the secondary settings menu:

The active track is indicated by a bright steady white light on the corresponding pad.

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13.2. Track settings

Out put Midi A/B/C/D USB De vice /Host Cv/G at e 1/2/3/4 Cv 1/2/3/4 G at e

1/2/3/4

Sets the MIDI port for the track output.

Tip When possible, we recommend to use a separate MIDI output port for tracks
generating a lot of events, e.g. if you send a lot of automation CC messages to a
synthesizer. Moreover, as USB outputs have a higher bandwidth, you can use them to
output a lot of event on different channels without compromising on timing.

Out put Channel 1 ... 16

Sets the MIDI channel for the track output.

Note Drum tracks will only use this channel for automations, as channels are tied to
specific drum lanes.

Input
Sets the MIDI port for the track input :
-- No input
All Act ive Listens to all incoming events, on any port and channel, but only when the
track is currently selected.
Midi A/B USB De vice USB Host Cv/G at e Listens to the specified port.

Input Channel
Sets the MIDI channel for the track input :
1 ... 16

Listens to the specified channel

All 1 ... 16

Listens to any channel on the specified input port. Prefered for MPE or Drum tracks.

PC (LSB, MSB) 0 ... 127

Sets the program change (PC) midi message to be sent when transitioning to this
pattern. You can also use optional extended PC logic with MSB/LSB (used by some
synthesizer with more than 127 presets).

Tip Rotate encoder ⑤ to instantly set the PC, or Press encoder ⑤ to enter the menu
configurating PC/MSB/LSB.

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 Tip Inside the PC menu, you will find the PRE-SEND option. If enabled, the program
change will not be sent at the very beginning of the next-pattern-to-be-launched, but
a few time before, useful when controlling Elektron machines patterns.

Lengt h 1 st e p ... 32 bars

Sets the length of the pattern in steps (1 step = 16th notes).

Tip Hold and Rotate encoder ⑥ for finer resolution.

Run -- re ve rse ping-pong random bar random be at random 1/16

Sets the pattern playback mode. A pattern can be played normally, in reverse, in
ping-pong (forward/backward) or jump to a random step every bar, every beat or
every 16th note.

T rig
Sets the behavior of the player upon a pattern change :
f re e Resets the position to the beginning of the pattern after a change.
re st art Keeps the previous position of the player upon a pattern change. The
playhead will not jump in this case.

13.3. Advanced track settings

Hold 2ND + Press a track button to enter advanced settings.

Quant z -- 1/64 1/32 1/24 1/16

Sets the quantization time division. Please note that this parameter will be overriden
by the project quantization if set.

St rengt h 0% ... 100%

Sets the track quantize strength. At 100%, note positions will be shifted to land
precisely on the quantization time divisions. At 0%, note positions won't be affected.
At 50%, notes will only be shifted half of the duration they should have been shifted in
order to be fully quantized.

pT rsp Off On

If "pTrsp" is enabled in the project settings, this parameter will allow the current track

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 to be transposed by track 16. This setting is disabled if pTrsp is not project enabled.

pScale Off On

If "pScale" is enabled in the project settings, this parameter will allow the current
track to follow the project scale. This setting is disabled if pScale is not project
enabled.

T rack Name
Allows renaming your track.

Inst rument Def

Shows wich Instrument definition file is loaded.
Clicking on either of the two lower right encoders will open a list of the available files
on the SD card, to load a new one.
Holding on either of the two lower right encoders will show the text included in the
comment section of the file.

13.4. Rearranging tracks

Hold a track button, then Press either or , to swap existing tracks.

Please note that while the transpose track is originally at position 16, changing its
position will not change its role, meaning the transpose track can be at any position.

13.5. Instrument Definitions

Intro
Instrument Definitions are a fast and easy way to setup a track to work with a given
instrument. Here is a non-exhaustive list of their features:
Give CCs names
Set the input and output MIDI port and channel
Set up the drum lanes of a drum track
Give PCs names (to save your favourite presets)
Create empty automation lanes
Instrument Definitions are UTF-8 encoded text files, with the ".txt" file extension.
They should be stored in the HAPAX folder of the SD card, alongside the projects.

72
How they work
The file is broken up into several sections, e.g. one for naming CCs, one for setting
up drum lanes, etc. Each section contains keywords, known as commands, followed
by values to set a given property.

Almost all commands are optional, and most values can be set to not overwrite the
current state of the track with the keyword "NULL". Note: This can be particularly
useful to reuse an instrument definition where the channel or port might regularly
change from project to project.

All text to the right of a '#' character are comments, and have no effect.

The syntax is quite simple, and self-documented in the examples below.

Download examples
Instrument definition examples are available online on our website:
https://squarp.net/hapax/manual/modetrack#rJmhPai

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14. Projects
14.1. Overview

Hapax can handle two projects (proA, proB) simultaneously. Each project contain 16
tracks. Here is an overview of the general structure of Hapax :

proA and proB are directly accessible through their dedicated buttons. Each of
them contains 16 tracks and can be played at the same time.

You can seemlessly load a project on proA while proB is running, for never
ending live sets!

14.2. Saving, loading or creating a project

Hold proA or proB to access the Save / load menu, displayed on the right
screen :

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 Note The SD card must be inserted to save or load projects.

From this menu, you will be able to save your current project with the same name
(SAVE), or a different name (SAVE AS...). You can also create a new project (NEW),
or load a previously saved project (LOAD).

14.3. Project transitions

Hapax is a polychronic sequencer, meaning that it can process two different projects
simultaneously and independently.

Saving, loading and mixing projects won't get you out of sync: perfect for live
performances.

After loading a new project while another one is already running, the loaded project
will be muted :

proA is playing, proB is empty

proA is playing, proB is loaded + muted

Then, while being on the freshly loaded project B, you are free to mute/unmute tracks
and organize your patterns, in order to prepare your transition.

Tip You can also select project A and mute some tracks or change patterns in order
to get ready for the project mix.

When you are ready to launch project B, Hold mut e and Press proB : both
projects are now playing!

proA is playing, proB is playing

When you finally need to silence all tracks of your project A : Hold mut e and
press proA :

proA is muted, proB is playing

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 You can also save proA while the other is playing, load a new project to proA to
prepare a new song transition, create a new project, ...

Note When loading a project, if this project BPM differs from the playing project
BPM, you will be asked to update the tempo (the two projects must share the same
BPM for proper transitions).

Tip While holding mute, you can mute/unmute tracks of a project, and while keeping
mute held, select the other project and mute/unmute its tracks. Thanks to the mute
group feature, the mute release will toggle the mute state of your both project, at the
same time. Itʼs a great way to mix projectʼs tracks and enhance your song transitions.

14.4. Setting a project scale (pScale)

One major feature of Hapax is the ability to set a global scale for each project,
which will constrain all notes to the selected pScale. It provides a simpler interface
without “wrong” notes. You can set a new scale anytime and in real-time, itʼs a great
studio tool to color your song.

Hold proA or proB to display the selected project settings on the left screen :

If you turn the pScale ON, the chosen scale will be applied to all the tracks that have
their respective "pScale" parameters enabled (located in 2ND t rack , enabled by
default).

When this global pScale is enabled, the matrix pads only show the notes of the
selected scale. There are never more than 8 notes in a scale, so the 8 rows will
always show the same note.

For example, if the key note of the scale is F, the bottom row will always be the F
note in the selected octave.

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 Note With pScale enabled, only in-scale notes can be added with the matrix pads.
The piano roll navigation is based on octave increments.

14.5. Time signatures

Each project can hold its own time signature. By default, the TS is 4/4 common time,
but you can easily and drastically change your songs grooves by using other
signatures.

Hold proA or proB to enter project settings :

Rotate encoder ③ (pSignature) to set the upper numeral (number of beats in

one bar)
Hold + Rotate the encoder ③ to set the lower numeral (note value that
represents one beat)

77
Upper numeral
When a project to 7/4, each bar is made of 7 subdivisions (7), each being a quarter
note (4).

Representation on the pianoroll leds will adapt accordingly:

One bar of 4/4 is displayed on 16 steps.
One bar of 7/4 is displayed on 28 steps.
As 28 steps won't fit on the 16 pads of the matrix, the first part will be displayed on
page 1 and will end on page 2. Page 2 will contain only 12 steps.

Now Hold 2ND + Press to duplicate the pattern. You will end up with 2 bars of
7/4, which is 56 steps long at default zoom level (2 x 28).

By default, each beginning of a bar is displayed on a new page. This allows for
easier navigation when using uncommon time signatures.

Note This option can be disabled under : SETTINGS > MISC > SPLIT BARS = OFF

Lower numeral
A common 4/4 TS means 4 beats per bar, each beat representing a quarter
note.
A 4/8 TS means 4 beats per bar, each beat representing an eight note
(quaver). Your bar will end up being twice as fast as when a common 4/4 TS is
used.
4/2 means 4 beats per bar, each beat representing a half note. Your bar will
end up being twice as slow as when a common 4/4 TS is used.

Tip Common Time Signatures: quadruples (4/4, 12/8), triples (3/4, 9/8), duple
(2/4 - 6/8), irregulars (5/4, 7/8)

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14.6. Transpose track (TRSP)

The transpose track is a unique track which leads the transposition of other tracks.
This role is devoted to track 16.

Hold proA or proB to enter the project settings. Rotate encoder ⑦ to enable
track 16 as the transpose leader (track 16 will start to blink).

Notes played in track 16 will be used as reference for transposing all other tracks (1
to 15). Drum tracks are never transposed.

Tip You can disable the transposition on some particular tracks. This option is
accessible under track's advanced settings. Hold 2ND + Press a t rack button to
enter advanced settings.

Track 16 can be used in the same way as any other track. You can play notes in live
mode or with an external controller, write notes in step mode or use MIDI effects.

Tip If you need your transpose leader track to remain silent, you can route it to any
unused output.

There are 2 different modes of pTRSP:

TRSP - Transpose

The simplest transpose: once you play a new note in the leader track (track 16), the
other track's notes will be transposed in real-time, accordingly to the track 16 note.

Note By default, the change is instantly applied. To enable synchronized changes,

please go to set t ings , enter MISC and set the pTRSP SYNC (instant, 1-beat, 1-bar,
...).

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Tip To set the transpose center note (the note defining a "+0" transpose), please go
to set t ings , enter MISC and set the TRANSPOSE ROOT. By default, the C5 note is
the note "resetting" the transpose amount.

CHRD - Match Chord

NEW! Match Chord is a fun and musical feature, opening the way to live scale
changes and new harmonization possibilities.

Once Match Chord is set on Track 16, it will listen for a note or a chord. Every other
tracks (1 to 15) will have their own notes quantized accordingly. This allows you to
transpose everything to a new scale, a new chord or even a single note and thus
change your entire project harmony in real-time.

On the bottom of the right screen, you will be able to view the chromatic scale used
thanks to the small piano roll (played keys are white):

Note When using Match Chord, note's octaves have no effect: only the chromatic
scale (the set of twelve pitches, from C to B) will be used to quantize the other tracks.

Tip If the pTRSP SYNC setting is enabled, you can use the livemode parameter PLAY
(Hold or Relatch) on track 16 to sustain what is played.

Note By default, the change is instantly applied. To enable synchronized changes,

please go to set t ings , enter MISC and set the pTRSP SYNC (instant, 1-beat, 1-bar,
...). You will need to sustain the chord until the synchronized change has been
processed. If the new played chord (or note) is released before the sync, Match
Chord will be reset to the default chromatic scale. On the bottom of the right screen,
a progress bar helps you to visualize the sync:

80
14.7. TRSP Transpose in practice

On track 1, let’s add a simple chord progression :

(Cmin - Dmin)

On track 16 (trsp = transpose), let's play some notes either with the live mode
keypads, with an external keyboard, or by adding notes in step mode:

Each new note will define a transposition amount. If you use the default setting
(transpose root = C5), the first note in the example above won't have any effect as it
is a C5, and the transposition amount will be “+0”.

The second note (D) will transpose the following tracks (track 1 to 15) by “+2”. The
third note will transpose by “+3”.

Upon playing, track 1 will therefore be transposed according to track 16 notes:

81
14.8. TRSP Match chord in practice

On track 1, let’s add a simple chord progression :

(Cmin - Dmin)

On track 16 (trsp = match chord), let's play a chord either with the live mode
keypads, with an external keyboard, or by adding notes in step mode:

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This chord defines a new scale to match for every other following tracks. If an existing
note from tracks 1 to 15 is equal to a note from the track 16 reference chord, it will
remain unchanged. If a note differs, it will be forced to the closest note contained in
the track 16 reference chord.

When running, the track 1 will therefore be harmonized to a new scale when track 16
is playing its chord:

A few other examples:

If track 16 is playing only 1 note (e.g. C), as the other track’s notes must match
the track 16 chord, track 1 to 15 will only output C notes.
If track 16 is playing the 12 chromatic notes, the other tracks notes will remain
unchanged.

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15. Effects
15.1. Overview
You can add up to 8 real-time effects per track. Notes played live and recorded in a
pattern are processed and sent to the outputs in real-time by the effect engines.

All the effects are non-destructive, and polyphonic capable. The position of an effect
in the chain is very important: an Harmonizer placed after an Arpeggiator will not
sound like an Arpeggiator placed after an Harmonizer. Experiment with the order of
effects to generate eccentric melodies.

It’s also possible to add multiple effects of the same engine on the same track (e.g.
chaining two arpeggiators).

Finally, every effect parameter can be edited in real-time via CC message and CV
inputs, thanks to the modMatrix.

15.2. Adding an effect, tweaking parameters

Press eff ect , select an empty slot and Press the menu encoder to add a new effect
in the rack.

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 Use left screen and Rotate the 8x encoders to play with the selected effect
parameters.

Tip Hold encoder param to reset the value.

15.3. Advanced operations

Select an effect and Press menu encoder : a context menu will appear, allowing you
to :
toggle the effect (mute/unmute it)
delete it
replace it (by another effect)
copy/paste it

Tip Select an effect and Hold it with the menu encoder. Then you can change its
position in the chain.

Tip Hold 2ND and Press "TOGGLE ON/OFF" to lock the effect mute/unmute on the
selected pattern: "ON*" (or "OFF*" if the effect is muted) will appears on the top of
the context menu when it's locked.

15.4. Locking effect parameters to patterns

While effect parameters are per-track by default, a pattern may lock an effect
parameter to a specific value. Changing the parameterʼs value on another pattern
will not change the value on the pattern onto which it is locked.

While an effect is selected and the left screen is displaying the effect parameters,
Hold 2ND and Press the associated encoder to toggle the param locking.

Below you can see an arpeggiator effect with 2 parameters locked: Octave and
Repeat.

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15.5. ModMatrix

The modMatrix is always the first effect in the rack and can't be deleted. It allows you
to patch sources (encoder ①) to destinations (encoder ⑤) in order to modulate an
effect parameter (or a midi output message, or a cv output) with an incoming signal.

With the associated encoders you can configure each of the 4 modMatrix parameters
:
Depth : amplify, attenuate or invert the input signal
Offset : Set the modulation central value
Polarity : modulate value around or after the offset
Consume : drop the input signal

15.6. Arpeggiator

ST YLE UP DOWN UP/DOWN ASSIG N RANDOM

Direction of the arpeggiated pattern. UP plays the pattern from the lowest note to
hightest. RANDOM will play notes in a random order. ASSIGN will play notes in the
order they were played.

RAT E 1/1 ... 1/64

Speed of the pattern. A rate of 1/4 will play a note of the arppegio every beat.

86
 GAT E 1% ... 200%

Pattern note lengths, depends on the rate.

HUMAN 0% ... 100%

Adds some randomness to the velocity and gate length.

OCT AVE -5 ... 0 ... +5

To create octaves progression. If OCTAVE=1 the arpeggiator will play the original
pattern, followed by the same pattern one octave higher. If OCTAVE=-2 the
arpeggiator will play the original pattern, followed by the same pattern one octave
lower, followed by the same pattern two octaves lower.

CHORD -2 ... +2
Plays the incoming notes as a chord, on top of the arpeggio, either up to two octaves
down, or two octaves up.

RE-T RIG -- NOT E 8BAR ... 1BAR 1/2 ... 1/16

When active, the ARP will restart its sequence at the desired interval, or every added
note.

REPEAT -- x1 ... x16

If enabled, do not play the pattern in a loop, but a defined amount of cycles

15.7. Chance

This effect plays or does not play a note based on probability. It’s a great way to
add variations to drums or melodies.

CHANCE 0% ... 100% VELOCIT Y

If ”0%”, the note will never be played. If ”50%”, the note has a fifty-fifty chance to be

87
 played. If ”99%”, the note will almost always be played. If ”VELOCITY,” the note will
have the same probability of being played as its velocity. Very handy for
programming different per note probability.

LOT -- BAR 1/4 1/8 1/16 1/32

When OFF, each note will "roll a die" to either play or not. When active, rather than
evaluate each note individually, the Chance effect groups notes in time intervals, and
"roll a die" for that interval. Either the full interval plays, or it does not.

SYNC -- BAR 1/4 1/8 1/16 1/32

Adds a synced probability (”sync chance” parameter). If sync = ”1/4”, all notes that
fall precisely on a quarter note will have a different probability of being played. If
sync = ”1/16”, all sixteenth notes will have a different chance to be played...

SYNC CHANCE 0% ... 100%

The probability of a synced note to be played. For example, if sync = ”1/4” and
sync chance = ”100%”, all beat notes will be played.

15.8. Euclid

Easily generate euclidian rhythms with this effect.

NOT E IN C0 (0) ... G 10 (127)

When set to "IN", Euclid will use the incoming notes, e.g. if you hold the C, E, and G
notes, Euclid will play a major C chord in a euclidian rhythm. Alternatively, you can
choose to ignore the input, and generate a euclidian rhythm with a fixed note, while
incoming notes will be passed on to the next effect untouched. Adding multiple Euclid
effects on the same rack (with different notes) is an easy way to generate complex
polymetric euclidean sequences.

88
 RAT E 1/1 1/2 1/3 1/4 1/6 1/8 1/12 1/16 1/24 1/32 1/64

Determine the clock rate of the internal euclidian sequencer.

ST EPS 1 ... 32
Sets the amount of steps in the full cycle.

PULSES 1 ... 32
Sets the amount of pulses (filled steps) on which to play notes.

ROT AT E 0 ... 31

Shifts the computed rhythm.

GAT E 0% ... 200%

Set the gate length of outputted notes.

15.9. Filter

NOT E LO / NOT E HI C0 (0) ... G 10 (127)

When "NOTE LO" < "NOTE HI", this sets the range of notes that can be let through
the Filter. When "NOTE LO" > "NOTE HI" however, this sets a range of notes to
ignore.

CC LO / CC HI 0 ... 127

Similarly to notes, CC messages falling in certain ranges can be accepted, or

dropped. When "CC LO" < "CC HI", this sets the range of CCs that can be let
through the Filter. When "CC LO" > "CC HI" however, this sets a range of CCs to
ignore.

PIT CHB -- DROP

When set to DROP, will drop all pitchbend messages and not forward them to the

89
 next effect.

AFT ERT -- DROP

When set to DROP, will drop all aftertouch messages and not forward them to the
next effect.

15.10. Harmonizer

ORIGIN ON OFF

When ON, will let incoming MIDI notes through, and output harmonized version of
these notes. When OFF, will drop the incoming notes, and only output harmonized
notes.

NOT E 2 ... 8 -36 ... +36

Choose up to 7 intervals with which to harmonize incoming notes, to generate

complex chords.

15.11. LFO

WAVEFORM SINE T RI RAMP SQUARE RAND

Choose the waveform of the LFO.

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SYNC ON OFF

Choose whether the rate should be tied to the BPM of the project or not.

RAT E (unsynced) 1 ... 100

Exponentially increasing frequency, from roughly 0.1 Hz to 1kHz.

RAT E (synced) 64 bars ... 1 bar 1/2 ... 1/128

Synchronized rate of the LFO.

PHASE -180° ... 180°

Phase shift the starting point of the LFO.

DEPT H -100% ... 100%

Scales the LFO.

OFFSET 0% ... 100%

Offsets the LFO central value.

MODE LOOP RLOOP ONCE 2x ... 16x

LOOP
Regular free running LFO
RLOOP
Retriggers on every note
ONCE, 2x, ... 16x
Plays once or multiple times through the waveform, then stops, like an envelope

DEST CC PIT CHBEND CV OUT ... FX PARAMET ER

Destination of the LFO.

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15.12. Randomizer

NOT E– / NOT E+ 0 ... 12

Increase the random pitch range downwards and upwards respectively.
For example, an incoming note of 60 (C5) with NOTE– = 1 and NOTE+ = 4 will be
randomly assigned a pitch between 59 (B4) and 64 (E5).

OCT AVE– / OCT AVE+ 0 ... 5

Increase the random pitch range downwards and upwards respectively. When active,
notes will randomly be scaled up or down several octaves, within the selected range.

VELO– / VELO+ 0 ... 63

Increase the random velocity range downwards and upwards respectively.

LENGT H 0% ... 100%

Randomly increase the length of incoming notes by delaying their NOTE OFF
messages. At 100%, notes can be increased up to a whole note (4x 1/4 notes = a
bar in 4/4).

CHANCE 0% ... 100%

Probability per note of random having an effect on the note parameters.

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15.13. Scaler

SCALE pScale Maj ... Oct ave

Choose the scale to quantize to. Select the "pScale" value if you want to use the scale
defined into project scale.

KEY C ... B
Choose the root note of the scale.

ST ICK Down Up Filt e r

When an incoming note is out of scale, the algorithm can quantize this note "down",
"up" or "filter" it.
For example, if selected scale is C Maj, an incoming out-of-scale note C# will be
processed like:
Down : C# scaled to C
Up : C# scaled to D
Filter : C# is ignored (not played)

T RSP -36 ... +36

Transpose notes before applying selected scale.

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15.14. Swing

GROOVE 50% ... 100%

Percentage of swing (delay the off-grid notes position). 50% (default) has no effect on
notes position.

SYNC 1/3 1/4 1/6 1/8 1/12 1/16 1/24 1/32 1/64

Swing quantisation grid. 1/16 is the classic value.

ACCENT 0% ... 100%

Amount of swing velocity accent. This parameters affect all notes.

HUMAN 0% ... 100%

Slightly randomize the position of swung notes (humanizer).

15.15. Env
ENV is an AHDSR envelope, with variable curvature per section, which can be
assigned to any destination. It is triggered every time a note comes through it.

Tip Click on the ATTACK, DECAY or RELEASE encoder to go to the corresponding

hidden curve parameter!

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AT T ACK 0 ... 3072
Duration of the ATTACK portion of the envelope, in clock ticks.

CURVE A -100% ... 100%

Curvature of the ATTACK portion of the envelope. Positive values produce an
exponential curve, while negative values produce a logarithmic curve.

DECAY 0 ... 3072

Duration of the DECAY portion of the envelope, in clock ticks.

CURVE D -100% ... 100%

Curvature of the DECAY portion of the envelope. Positive values produce an
exponential curve, while negative values produce a logarithmic curve.

SUST AIN 0% ... 100%

Level of the steady state (note ON), until the key is released.

RELEASE 0 ... 3072

Duration of the RELEASE portion of the envelope, in clock ticks.

CURVE R -100% ... 100%

Curvature of the RELEASE portion of the envelope. Positive values produce an

exponential curve, while negative values produce a logarithmic curve.

DEPT H -100% ... 100%

Scales the ENV.

OFFSET 0% ... 100%

Offsets the ENV central value.

HOLD 0 ... 3072

Duration of the HOLD portion of the envelope, in clock ticks. This section is in between
the attack and the decay.

DEST CC PIT CHBEND CV OUT ... FX PARAMET ER

Destination of the envelope.

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 Note 3072 clock ticks corresponds to 4 bars of 4/4.

15.16. Project LFOs

Press 2ND + eff ect to enter the Project LFOs submode.

Each project has two global LFOs that can be used across multiple tracks. They are
available as sources in each track's modmatrix.

15.17. Quantizer

The quantizer is located in 2ND + t rack window and aligns notes to a time
division to improve timing precision.

Press 2ND + t rack to enter secondary tracks settings.

QUANT Z -- 1/64 1/32 1/24 1/16

Quantizer time division (usually 1/16).

ST RENGT H 0% ... 100%

Amount of quantization. As a 100% strength value will apply maximum quantization

to the notes, lower values will allow the notes to be slightly off grid.

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16. Algo
16.1. Overview
In Hapax, algo (algorithms) are operations that are not performed in real time, but
rather applied "offline", directly on the sequences you programmed or recorded.

When working in st ep mode, press algo to enter this submode.

Select the algorithm by scrolling encoder ① and Press it to apply the algo on the
pattern you are working on. The other encoders let you configure the algorithm
parameters.

Some parameters have a secondary value that you can set by holding the associated
encoder and scrolling it.

Tip When you apply an algo while performing a selection, the algo will process only
the selection.

16.2. Generatr
Availability : st ep poly + st ep drum

Clear notes and generate a randomized pattern. Generated notes are quantized to a
grid that you define, and you can set the min & max note pitch/velocity/length
range. You can also set the amount of events (density %) and decide to generate
mono notes or chords (mono ... poly 4).

Quant z 1/1 ... 1/64

Grid on which the generator will apply notes.

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 Pit ch C0 ... G 10

Rotate encoder to change the highest note that can be generated.

Hold + Rotate encoder to change the lowest note that can be generated.

Densit y 0% ... 100%

Rotate encoder to set notes density span in the pattern.

Hold + Rotate encoder to change the secondary parameter:
Mono Only one note per grid.
Poly 2 / 3 / 4 Enables polyphony (chords): 2, 3 or 4 notes at the same time.

Lengt h 1 ppqn ... X ppqn

Rotate encoder to set maximum note length.

Hold + Rotate encoder to set minimum note length.
96 ppqn = 1/8 note.
24 ppqn = 1/32 note.

Velocit y min/max 0 ... 127

Rotate encoder to set maximum note velocity.
Hold + Rotate encoder to set minimum note velocity.

16.3. Curves
Availability : st ep poly + st ep drum

Modify parameters of existing notes following a curve. You can set the LFO wave
(sine, triangle...), its amplitude min & max, its rate. The default parameter to be
processed is the velocity, but you can also set other destinations (length, chance...).

For example if you apply a ramp on velocity, this will ends up in a "velocity fade in".
Your notes will be louder at the end of your pattern and almost muted at the
beginning.

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 Wave Sine T ri Ramp Squa Rand

Choose your waveform.

Amplit ude 0% ... 100%

Waveform amplitude.

Rat e x1 ... x8

Number of repeats of your waveform.

Dest
Set the destination note parameter to modulate:
Ve l Velocity
Le ng Length
Roll Roll
Mat h Math (conditional trigs)
Chan Chance
uT ime uTime (groove)

16.4. Symmetry
Availability : st ep poly + st ep drum

Reorganize your existing pattern with symmetry. Events can be flipped horizontally
(time) or vertically (pitch).

Symmet ry T ime Pit ch

Choose whether you want an horizontal (Time) or vertical (pitch) symmetry.

Duplicat e
Off Existing events will erased.
On Events will be generated on top of your previous pattern.

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16.5. Every N
Availability : st ep drum

Choose a Grid and create evenly spread notes with accentuation based on the N
parameter. This algorithm is very powerfull for Drum sequencing.

Grid 1/1 ... 1/64

Grid used for generation.

N 1 ... 16

Accentuation each N.
For example : N = 2, every second note will be accentuated.

Accent V 0 ... 127

Accent Velocity.

Ghost V 0 ... 127

Ghost Velocity.

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17. Settings
17.1. Overview
Toggle set t ings and navigate the parameters to configure Hapax according to
your needs.

Select the SAVE icon to store settings onto the SD card : they will be loaded at
startup. Settings are global and are used by both projects proA and proB.

17.2. Sync input

Clock source
INT ERNAL Hapax will use its internal clock (to be the synchronisation leader).
MIDI IN A Hapax will follow the midi A clock input.
MIDI IN B Hapax will follow the midi B clock input.
USB HOST Hapax will follow the usb host clock input.
USB DEVICE Hapax will follow the usb device clock input.
CV IN 1 Hapax will follow an analog gate input, if connected on the CV input 1.
CV IN 2 Hapax will follows an analog gate input, if connected on the CV input 2.

Tip When using CV IN 1 or CV IN 2, Hapax is synchronized in a "step advance"

(trigger) style. The setting CV CLOCK DIV let you choose how much ppqn the
sequencer will run for one input trig. Please note that you also need to set the tempo
thanks to the BPM popup, allowing a great flexibility. For example, if you want to
sync Hapax with an external eurorack sequencer analog clock, running at 140bpm

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 and sending a gate each 1/16, you need to set CV CLOCK DIV = 1/16 (4ppqn) and
set Hapax BPM to 140.

MIDI st art /st op

-- Start and stop Hapax only with and pads.
ON (CLOCK INPUT ) Hapax receives & reacts to midi in start/stop messages (on
same input as CLOCK SOURCE, that must be set to an external source).
ON (ANY INPUT ) Hapax receives & reacts to midi in start/stop messages. All inputs

can receive these messages (even when CLOCK SOURCE is set to internal).

CV reset
CV IN 1 Use an analog gate on CV input 1 to reset the playback position.
CV IN 2 Use an analog gate on CV input 2 to reset the playback position.

CV run
CV IN 1 Use an analog gate on CV input 1 to start the playback. A high state will
run the sequencer, a low state will stop & reset the playback.
CV IN 2 Use an analog gate on CV input 2 to start the playback. A high state will

run the sequencer, a low state will stop & reset the playback.

CV clock div 1/96 = 24ppqn ... 1/4 = 1ppqn

When CLOCK SOURCE = CV IN, sets the speed of the expected incoming clock.

17.3. Sync output

MIDI A/B/C/D, USB device/host

-- Do not transmit clock, start and stop messages to the selected midi output.
CLOCK+T RANSPORT Send midi clock + start/stop to the selected midi output.
CLOCK Send only midi clock to the selected midi output.
T RANSPORT Send only midi start/stop to the selected midi output.

Clock on st op
-- Send midi clocks only when Hapax is playing.

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 SEND Always send midi clocks, even when hapax is stopped.

Din sync -- 1/96 ... 1/1

Set the DIN-sync analog clock pulse resolution (also known as Sync24, enable some
vintage gear synchronization, like the TR-808) available on midi output C port. When
a clock value is set, this DIN-sync port also send the start/stop message.

Gat e play -- G at e 1 ... G at e 4

Selected gate output will be set to high level when Hapax is playing, and low level
when Hapax is stopped.

Gat e reset -- G at e 1 ... G at e 4

Selected gate output will be set to high level when Hapax is stopped, and low level
when Hapax is playing.

Gat e clock -- G at e 1 ... G at e 4

Selected gate will output a synchronisation clock, with a 50% duty cycle.

Gat e clock div 1/96 = 24ppqn ... 1/1 = 1 bar

When GATE CLOCK is enable: sets the speed/resolution of the clock.

17.4. Misc

Met ronome
MIDI If metronome enabled in the rec settings, the metronome will be send thanks to
MIDI notes messages.
CV OUT 1/2/3/4 If metronome enabled in the rec settings, the selected CV output
will output an audio sound that you can directly plug to your mixing console or
portable speaker.

Met ronome MIDI Act ive t rack MIDI A/B/C/D CH01..CH16 USB host /de vice

CH01..CH16

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Only applicable if the previous METRONOME setting is set to MIDI. Choose which
MIDI output+channel should be used to send the metronome note messages.

Met ronome AUDIO VOLUME 10% VOLUME 100%

Only applicable if the previous METRONOME setting is set to AUDIO. Choose the
metronome audio output level (100% = 10Vpp = eurorack level, 30% = 3Vpp =
professional line level).

Met ronome bar C0 ... C6 ... G 10

MIDI note to play on the first beat of the bar.

Met ronome beat C0 ... C6 ... G 10

MIDI note to play on other beats of the bar.

T ranspose root C0 ... C6 ... G 10

Set the “center note” defining TRSP = +0 (no transposition). Works only for project
pTRSP=TRSP.

pT RSP sync INST ANT BEAT 1 BAR ... 4 BARS

Choose the time interval on which transposition should be synced to. Works for
pTRSP=TRSP (classic transpose) and pTRSP=CHRD (match chord).

Rest art sync INST ANT BEAT 1 BAR ... 4 BARS

Choose the time interval on which pressing play (when Hapax is already running)
should restart the player. Useful to synchronize a restart to a beat, a bar, ... when
live performing.

Mut e group
OFF Instant track mute.
ON When muting tracks, enables group selection: all tracks mute states will be
toggled after the mute pad release.

Led bright ness 0% ... 100%

Adjust leds brightness level to best match your environment.

Screen cont rast 0% ... 100%

Adjust screen contrast to best match your environment.

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Hold t ime Fast e r Fast Normal Slow Ext ra Slow

Change the time for a button press to be registered as a Hold action.

Split bars
OFF In step mode, a new bar is a continuation of the previous one.
ON In step mode, a new bar is always on a new page (useful for odd time
signatures).

Note This is an advanced setting, default value (ON) is probably what you need.

Not e Chasing
OFF When unmuting a track, notes currently ON (on the playhead) are not
retrigged.
ON Retrig notes that should be playing when unmuting a track.

Note This is an advanced setting, default value (ON) is probably what you need.

Palet t e >
Enter the color palette mode, to customize RGB leds colors thanks to encoders ①...⑧
(read section Color palette).

Inf o >
Display HapaxOs version and real-time CPU usage.

Select +/- WARP ROT AT E

Determines the behaviour of the + and - buttons during a STEP mode multiple-
events selection.

Debug Enabled Off On

Enable debug shortcuts for debugging purposes.

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17.5. CV/Gate + pedal

CV IN range -5.0v > +5.0v 0.0v > +5.0v

Set the input voltage range Hapax can process, for the 2x CV inputs.

CV OUT range -5.0v > +5.0v 0.0v > +5.0v

Set the voltage range Hapax can output, for the 4x CV outputs.

CV OUT t ype 1V/oct ave 1.2V/oct ave

Each CV can be set to output the eurorack standard 1V/octave, or 1.2V/octave (e.g.
when using Buchla synths).

GAT E polarit y HIG H=5V HIG H=0V

Set the gate ON level (5V or 0V).

Pedal hot -- REC PLAY/ST OP PLAY/REST ART

Assign a command to execute when using a footswitch. Pedal hot is the tip channel of
the cable, available on mono (single) and stereo (dual) pedals.

Pedal cold -- REC PLAY/ST OP PLAY/REST ART

Assign a command to execute when using a footswitch. Pedal cold is the ring channel
of the cable, available on stereo (dual) pedals.

17.6. Midi input

Not es -- IG NORE
Ignore Ignore incoming midi notes

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 CC Messages -- IG NORE
Ignore Ignore incoming midi CC messages.

Pit chbend -- IG NORE

Ignore Ignore incoming midi pitchbend events.

Pressure -- IG NORE

Ignore Ignore incoming midi aftertouch events.

Program change -- IG NORE

Ignore Ignore incoming midi PC (program change) events.

17.7. Midi thru

When Midi thru is enabled, between an input and an output it forwards instantly any
Midi event (including notes, Cc...) directly to the selected output.

MIDI in > MIDI out A/B/C/D

ON Configure MIDI thru from the MIDI inputs to any selected MIDI output.

MIDI in > USB device/host

ON Configure MIDI thru from the MIDI inputs to any selected MIDI output.

USB device > MIDI A/B/C/D

ON Configure MIDI thru from the USB device input to any selected midi output.

USB device > USB host

ON Configure MIDI thru from the USB device input to USB host output.

USB host > MIDI A/B/C/D

ON Configure MIDI thru from the USB host input to any selected midi output.

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 USB host > USB device
ON Configure MIDI thru from the USB host input to USB device output.

17.8. Color palette

Under Pale t t e you will be able to finetune custom RGB led colors. This is very
usefull if you already have strong synestetic habits.

Toggle set t ings button and enter "Settings > MISC > Palette".

You will see the colour chart on the matrix pads (a RGB color is made of 3 elements:
red, green and blue).

Palet t e Not e Misc Drum Pat t Aut o

This parameters allows you to scroll among all available palettes thanks to encoder
①, and then scroll between the type of color you will edit with encoder ⑤:

Not e Each of the 12 notes, from C to B

Drum Each of the 8 lanes, from 1 to 8

Misc Miscellaneous colors:

Selec : Selections
Mute : Muted notes
Void : Automation events of "void lane" (no destination set) events
Disab : Disabled areas (loop points, out of pScale)
Pat t Pattern colors:
VOID : empty patterns
VO-S : empty pattern (selected)
Play : playing patterns
VO-S : playing pattern (selected)
Aut o Automation colors:

REG (regular) : automation regular events.

DEFA (default) : automation default values.

Red / Green / Blue 0% ... 100%

Rotate encoders to add or remove this color compound in the mix.

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17.9. Midi monitor
Hold 2ND + Toggle live to display the midi monitor, showing midi in events (left
screen) and midi out events (right screen).

17.10. How to calibrate the 4 CV outputs

You can fine tune Hapax's 4 analog outputs in order to get a very precise note pitch:

Hold encoder ⑦ encoder while powering on Hapax: : "CALIBRATE VOICE 1,

ADJUST -4V" must appears on the screen.

With the help of an accurate voltmeter and a patch cable, measure the CV1 output
and rotate the menu encoder to adjust the output voltage (-4.00V).

Click the menu encoder to select and calibrate the next voltage (-3.00V). Repeat this
operation for each CV values (-2.00V, -1.00V, 0.00V, 1.00V, 2.00V, 3.00V, 4.00V).

Once you calibrated all the voltages for CV1 output, the next CV output (CV2, CV3,
and finally CV4) will be automatically selected. Ajust each voltages of this selected
output, always with the help of your voltmeter and by rotating the menu encoder.

At the very end of this procedure, this calibration will be saved in the SD card. Then
you can reboot Hapax and start playing with your CV outputs!

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Tip Hapax outputs -5.00V for a C0 note (midi note 0), -4.00V for a C1 note (midi
note 12), -3.00V for a C2 note (midi note 24), ..., 0.00V for a C5 note (midi note
60), ..., 5.00V for a C10 note (midi note 120).

110