Industrial Techno
Values are starting points — dial them to taste. Where a mood knob or the key moved one you see the move — 52 → 45. Every value carries its range, 38 (0…100), so you can tell at a glance whether the screen in front of you is the one the line is about.
1Song
- BPM
- 134 template range 130…142
- Key
- F minor a reroll may pick A minor, C minor
- Harmonic cycle
- 8 bars
Progression
| Degree | Chord | Notes | Bars |
|---|---|---|---|
| i | Fm | F · Ab · C | 4 |
| VI | Db | Db · F · Ab | 2 |
| VII | Eb | Eb · G · Bb | 2 |
Arrangement 128 bars total
| Part | Intro | Build | Drop | Breakdown | Peak | Outro |
|---|---|---|---|---|---|---|
| plays throughout | ||||||
| plays throughout | ||||||
| plays throughout | ||||||
| plays throughout | ||||||
| plays throughout | ||||||
| plays throughout | ||||||
| plays throughout | ||||||
| plays throughout | ||||||
| plays in Drop, Peak | ||||||
| plays throughout | ||||||
| plays in Build, Breakdown | ||||||
| plays throughout | ||||||
| plays in Intro, Outro |
2Voice assignment
- Tracker Mini · Track 1Tight one-shot kick, tuned down, no tail
p1 · exact · every section
- TR-1000 · BDKick tuned down into a sustained sub
p1 · exact · every section
- TR-1000 · LTFM bass with the modulator up
p2 · exact · every section
- TR-1000 · HCWide clap sitting on top of the snare
p2 · exact · every section
- TR-1000 · CHGrainy CR-78 hat with a metallic edge
p2 · exact · every section
- TR-1000 · RCCR-78 metal ringing across the bar line
p3 · substituted — asked , authored · every section
- Tracker Mini · Track 2Half-open hat, gated short
p3 · exact · every section
- Tracker Mini · Track 3, Track 4 and Track 5Single-note sample struck short, one note per track
p3 · exact · 3 notes stacked one per voice · every section
- TR-1000 · CCCrash marking the top of a section
p4 · exact · Drop, Peak
- Tracker Mini · Track 9, Track 10 and Track 11Slow detuned pad, long swell
p4 · substituted — asked , authored · 3 notes stacked one per voice · every section
- Tracker Mini · Track 6Sample played backwards under an eight-bar cutoff rise
p4 · exact · Build, Breakdown
- TR-1000 · OHWhite noise burst on the open-hat track, up where the hats sit
p5, optional · exact · every section
- Tracker Mini · Track 7Held source with the cutoff climbing once, over the longest envelope the box has
p5 · substituted — asked , authored · Intro, Outro
Gaps
None.
3Rig integration
Clock source — Tracker Mini over midi-din, carrying 10 parts. Sync everything else to it.
Why this box — its manual says leading a rig is its job
On the Tracker Mini, set Config > MIDI > Clock Out to MIDI Out jack
Off, USB, MIDI Out jack, USB + MIDI Out jack — clock leaves only by the routing set here
Make it here first — the Tracker Mini is being sent to find a kick, and the TR-1000 in this rig can play one already. Build Low long kick that owns the bottom on the TR-1000, then sample it into the Tracker Mini.
4Tracker Mini
Patching
- Tracker Minigroovebox · 10 parts
- clock
- sends clock · midi-din/usb
- MIDI Out, MIDI In
- 3.5mm TRS — use the supplied Type B adapter for 5-pin MIDI (p.13, p.284)
- audio
- stereo main out · USB audio · audio in
- mixer
- 10 parts, no individual outs: one stereo channel for all
Shared settings
This block draws on the Polyend Tracker Mini Manual 2.2.1b, pp.116-185 and the instrument at firmware 2.2.1; its values are starting points.
Content — Ships 50 factory genre-based sample packs — look in /Samples/FactoryPacks on the microSD card. p.34 names the folder and the count, and no page lists what is in a pack, so the Source line below says what the part needs rather than naming a file.
Note names — Middle C is C4 here, and on this box it is a setting: Config > MIDI > Middle C offers C-3, C-4, C-5 and C-6. Choose C-4 and every note printed here reads the same on the box. A MIDI number, where one is printed, is the same whichever you choose.
Pattern-wide
One setting for the whole pattern — set it once, not once per part below.
Hold [FX1], press (Up)/(Down)
50% is no swing; put it on step 1 — one entry covers every track for the pattern
Track 1
Step programming
—Tracker Mini · Track 1
Tight one-shot kick, tuned down, no tail — settings in Sound design
Intro, Outro
16 stepsband 0
- —1, 9
Build, Breakdown
16 stepsband 1
- —1, 5, 9, 13
Drop, Peak
16 stepsband 3
- —1, 5, 13
- —8 (vel 50), 16 (vel 60)
- —9 (vel 112)
On this box — Tracker Mini
- volume100on step 9
Hold [FX1], press (Up)/(Down)
Sound design
Track 1Tight one-shot kick, tuned down, no tail
Write C5 on the step. This TUNE moves the sample that many semitones, so C5 here is not the recorded pitch; C5 with TUNE 0 is a different, untransposed patch, and that one plays the recording as recorded (p.90, p.116).
Track 2
Step programming
—Tracker Mini · Track 2
Half-open hat, gated short — settings in Sound design
Trigger note — C5 · MIDI 60 · with middle C set to C-5
Intro, Outro
16 stepsband 0
- —7
On this box — Tracker Mini
- gate-length45on step 7
Build, Breakdown
16 stepsband 1
- —3, 11
On this box — Tracker Mini
- gate-length45on steps 3, 11
Drop, Peak
16 stepsband 3
- —3, 7, 11
- —13
- —15 (vel 106)
On this box — Tracker Mini
- gate-length45on steps 3, 7, 11
Sound design
Track 2Half-open hat, gated short
Track 3, Track 4 and Track 5
Hook
Steps are sixteenths, counted from the start of the hook: 16 to a bar, so step 33 is bar 3. Notes sharing a step are one chord and share a line. Names are spelled for the key, so F minor gets Eb; a name in brackets is the same pitch as a sharps-only box shows it, and appears only where it differs. Octaves put middle C at C4, which not every maker agrees with — the MIDI number is the form nothing disagrees about. Where a role has more than one hook authored, rerolling the seed picks a different one.
—Tracker Mini · Track 3, Track 4 and Track 5
Single-note sample struck short, one note per track — settings in Sound design
4 bars in F minor.
No note-length field on this box — a note runs until the next note on the same voice, and OFF is how you stop one sooner. The rows below are what you enter, in the order you enter them.
Stacked chord — 3 voices, one note each. There is no chord to play on any one of them. All 3 take the same settings — one sound repeated across the stack, not 3 different sounds.
Lowest note to the lowest voice: Track 3 takes the bottom of every chord and Track 5 the top. Hold that order and the voicing keeps its shape as the progression moves; cross the voices over and the chord changes character between bars with nothing here saying so.
Track 3 — lowest note
- bar 1 · step 1 · F3 · root · MIDI 53
- bar 1 · step 3 · OFF
- bar 1 · step 11 · F3 · root · MIDI 53
- bar 1 · step 12 · OFF
- bar 3 · step 33 · F3 · root · MIDI 53
- bar 3 · step 35 · OFF
- bar 4 · step 49 · C4 · 5th · MIDI 60
- bar 4 · step 52 · OFF
Track 4 — note 2 from the bottom
- bar 1 · step 1 · Ab3 (G#3) · 3rd · MIDI 56
- bar 1 · step 3 · OFF
- bar 1 · step 11 · Ab3 (G#3) · 3rd · MIDI 56
- bar 1 · step 12 · OFF
- bar 3 · step 33 · Ab3 (G#3) · 3rd · MIDI 56
- bar 3 · step 35 · OFF
- bar 4 · step 49 · Eb4 (D#4) · 7th · MIDI 63
- bar 4 · step 52 · OFF
Track 5 — highest note
- bar 1 · step 1 · C4 · 5th · MIDI 60
- bar 1 · step 3 · OFF
- bar 1 · step 11 · C4 · 5th · MIDI 60
- bar 1 · step 12 · OFF
- bar 3 · step 33 · C4 · 5th · MIDI 60
- bar 3 · step 35 · OFF
- bar 4 · step 49 · G4 · 2nd · MIDI 67
- bar 4 · step 52 · OFF
Step programming
—Tracker Mini · Track 3, Track 4 and Track 5
The hook is the pattern — see Hook for its steps and what each one carries. Nothing separate to program here.
Sound design
Track 3, Track 4 and Track 5Single-note sample struck short, one note per track
Chord voicing — 3 notes, one on each of 3 voices. Every voice takes these same settings: it is one sound played 3 times over, not 3 sounds, and a difference between them is a difference you will hear inside the chord. Which voice takes which note is in Hook.
Source — A single-note tonal sample — one pitch, with a front edge. Yours, or one note rendered here; it does not need to be a chord and should not be one
Routing — Tracks 1-8 — costs no synth slot, and one loaded sample serves every track of the stack
Track 9, Track 10 and Track 11
Hook
Steps are sixteenths, counted from the start of the hook: 16 to a bar, so step 33 is bar 3. Notes sharing a step are one chord and share a line. Names are spelled for the key, so F minor gets Eb; a name in brackets is the same pitch as a sharps-only box shows it, and appears only where it differs. Octaves put middle C at C4, which not every maker agrees with — the MIDI number is the form nothing disagrees about. Where a role has more than one hook authored, rerolling the seed picks a different one.
—Tracker Mini · Track 9, Track 10 and Track 11
Slow detuned pad, long swell — settings in Sound design
8 bars in F minor.
No note-length field on this box — a note runs until the next note on the same voice, and OFF is how you stop one sooner. The rows below are what you enter, in the order you enter them.
Stacked chord — 3 voices, one note each. There is no chord to play on any one of them. All 3 take the same settings — one sound repeated across the stack, not 3 different sounds.
Lowest note to the lowest voice: Track 9 takes the bottom of every chord and Track 11 the top. Hold that order and the voicing keeps its shape as the progression moves; cross the voices over and the chord changes character between bars with nothing here saying so.
Track 9 — lowest note
- bar 1 · step 1 · F3 · root · MIDI 53
- bar 5 · step 65 · Db4 (C#4) · 6th · MIDI 61
- bar 7 · step 97 · Eb4 (D#4) · 7th · MIDI 63
Track 10 — note 2 from the bottom
- bar 1 · step 1 · Ab3 (G#3) · 3rd · MIDI 56
- bar 5 · step 65 · F4 · root · MIDI 65
- bar 7 · step 97 · G4 · 2nd · MIDI 67
Track 11 — highest note
- bar 1 · step 1 · C4 · 5th · MIDI 60
- bar 5 · step 65 · Ab4 (G#4) · 3rd · MIDI 68
- bar 7 · step 97 · Bb4 (A#4) · 4th · MIDI 70
Step programming
—Tracker Mini · Track 9, Track 10 and Track 11
The hook is the pattern — see Hook for its steps and what each one carries. Nothing separate to program here.
Sound design
Track 9, Track 10 and Track 11Slow detuned pad, long swell
Chord voicing — 3 notes, one on each of 3 voices. Every voice takes these same settings: it is one sound played 3 times over, not 3 sounds, and a difference between them is a difference you will hear inside the chord. Which voice takes which note is in Hook.
Routing — Tracks 9-16 — costs one of the three project synth slots
Each note step: hold [Instrument], select synth
Eight voices are shared across the three synth slots — this is this slot’s share
Track 6
Step programming
—Tracker Mini · Track 6
Sample played backwards under an eight-bar cutoff rise — settings in Sound design
One trig, not a figure — the direction authors no grid for this part. Place its single trig so the gesture arrives at the change.
Trigger note — C5 · MIDI 60 · with middle C set to C-5
Sound design
Track 6Sample played backwards under an eight-bar cutoff rise
Source — A bright cymbal or metallic tail — a long crash, a bowed cymbal, a metallic wash. After any optional transposition, START to END has to contain eight bars of audible sound. Two things help if your recording is shorter: Routing offers an octave-down that plays the same file at half speed, and the procedure below renders a reverb tail on the box. Neither makes sound out of silence, and p.196 reverses a long silent tail into no sound at all — so pull END back to where the tail is still sounding
Routing — **Set `r` to `<<<` on the step eight bars before the change** — the Reverse Sample step FX, p.196. Reversed, playback runs from END back to START, so the tail rises and the transient lands on the change. **What moves:** the cutoff, once per LFO cycle — `128` is counted in pattern steps (p.123), so it is eight bars where a bar is 16 steps. **What does not:** the sample is `1-Shot`, *"plays start to end once"* (p.127), and the pitch is not automated over the rise, because the destination is `Cutoff` and not `Finetune`. **The ramp is not started by your trig** — p.121 has `Cutoff` among the destinations where the LFO *"is semi-free running and resets on playback. Does not reset on a note"*, so the eight bars are counted from where you pressed play. Put the section on that eight-bar grid and the climb arrives with the change. **If the tail runs out before the eight bars do**, one option is to write the note an octave below this part’s trigger note: p.128 elongates a sample on a lower note, so it plays the same file at half speed and covers twice the bars. It transposes the source down with it, so the part sounds darker than the recording you chose — the cutoff ramp opens a filter, it does not put back an octave. If that is the wrong trade for a bright riser, leave the note alone and print a longer tail instead: Source above has the procedure. `TUNE` stays at 0 either way
p.127: "Plays start to end once" — the sample does not repeat; the filter cycle does
Press [3] for Sample Playback
Reversed, this is where the gesture arrives — put it on the hit, not before it
Eight bars as it plays, not of file: if you take Routing’s octave-down, the same eight bars take half the recording. Reversed playback starts here, so trim the dead air past it or p.196 gives silence
Where the rise starts from — a filter already open has nowhere to travel
Screen button 4 cycles instrument pages
On the Cutoff row of Instrument Automation 2/2 — this is what connects the rise
p.122: "Saw — Ideal for ramp up sounds"; Rev Saw is the ramp down
In pattern steps: 128 steps is eight bars where a bar is 16 steps
How far the ramp travels; the Saw is what makes it travel upward (p.122)
-39.60 dB is the quietest step; one below it the send reads -inf dB, off
Track 7
Step programming
—Tracker Mini · Track 7
Held source with the cutoff climbing once, over the longest envelope the box has — settings in Sound design
One trig, not a figure — the direction authors no grid for this part.
- Intro—Place its single trig so the gesture arrives at the change.
- Outro—Place its single trig wherever the gesture should be heard; nothing follows this section for it to lead into.
Trigger note — C5 · MIDI 60 · with middle C set to C-5
Sound design
Track 7Held source with the cutoff climbing once, over the longest envelope the box has
Routing — **One note where the gesture starts, held.** The envelope runs once from each note on (p.125), so a part re-struck every bar sweeps every bar instead of once. **How long the climb can be:** the attack tops out at 10 Sec (p.126), which is about five bars at these tempi — long enough to open across a section boundary, not long enough to cross a whole section. **If you want it repeating instead**, set the Cutoff row to `LFO` and reach for the `j` step effect: p.201 gives 128-32 as its sweep range, and 128 steps is eight bars a cycle, restarting on every trig
Where the sweep starts from — a filter already open has nowhere to travel
Screen button 4 cycles instrument pages
On the Cutoff row of Instrument Automation — an envelope runs once, an LFO cycles
The climb. 10 Sec is the ceiling, which is about five bars at these tempi
Full, so the filter stays where the climb left it rather than falling back
How much of the envelope reaches the cutoff
-39.60 dB is the quietest step; one below it the send reads -inf dB, off
5TR-1000
Patching
- TR-1000drum-machine · 7 parts
- clock
- sends clock · midi-din/din-sync/usb/analog-clock/trigger
- audio
- stereo main out · 10 individual outs · USB audio · audio in
- mixer
- 7 parts, 10 individual outs: one channel each
Shared settings
This block draws on the TR-1000 Reference Manual (eng02) v1.13+, pp.26-71, the TR-1000 Preset GEN/INST List (eng02) v1.20, p.1, and the instrument at firmware 1.2.1; its values are starting points.
Pattern-wide
One setting for the whole pattern — set it once, not once per part below.
Hold [SHIFT], press [PTN SELECT]
Pattern-wide: one setting for every track, saved with the pattern
BD
Step programming
—TR-1000 · BD
Kick tuned down into a sustained sub — settings in Sound design
Note — F1 · MIDI 29
Intro, Outro
16 stepsband 0
- —1
Build, Breakdown
16 stepsband 1
- —1, 9
- —15
Drop, Peak
16 stepsband 3
- —1
- —3, 7, 11, 15
Sound design
BDKick tuned down into a sustained sub
Routing — INDIVIDUAL OUT BD so the sub stays out of the bus effects
Hold [SHIFT]+[GEN], select with [C6]
An octave down, in semitones
Near-flat pitch envelope
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
LT
Hook
Steps are sixteenths, counted from the start of the hook: 16 to a bar, so step 33 is bar 3. Notes sharing a step are one chord and share a line. Names are spelled for the key, so F minor gets Eb; a name in brackets is the same pitch as a sharps-only box shows it, and appears only where it differs. Octaves put middle C at C4, which not every maker agrees with — the MIDI number is the form nothing disagrees about. Where a role has more than one hook authored, rerolling the seed picks a different one.
—TR-1000 · LT
FM bass with the modulator up — settings in Sound design
2 bars in F minor.
A step is a trigger, not a note with a length: the instrument's own envelope ends it, and `DECAY` is what sets that.
- bar 1 · step 1 · F2 · root · MIDI 41
- bar 1 · step 7 · F2 · root · MIDI 41
- bar 1 · step 11 · Bb2 (A#2) · 4th · MIDI 46
- bar 1 · step 15 · F2 · root · MIDI 41
- bar 2 · step 17 · F2 · root · MIDI 41
- bar 2 · step 23 · Db3 (C#3) · 6th · MIDI 49
- bar 2 · step 27 · C3 · 5th · MIDI 48
Step programming
—TR-1000 · LT
The hook is the pattern — see Hook for its steps and what each one carries. Nothing separate to program here.
Sound design
LTFM bass with the modulator up
Hold [SHIFT]+[GEN], select with [C6]
MOTION [REC] lit, then move knob
The hook’s notes go in as motion on the [TUNE] knob, by ear
Modulator level; this is the dirt
Modulator feedback, on top of the depth
Modulator frequency, in place of FM RATIO
Nothing off the bottom
Flat: no pitch envelope on a bass note
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
HC
Step programming
—TR-1000 · HC
Wide clap sitting on top of the snare — settings in Sound design
Intro, Outro
16 stepsband 0
- —13
On this box — TR-1000
- accenttrueon step 13
ACCENT [STEP], then step keys
Build, Breakdown
16 stepsband 1
- —5, 13
On this box — TR-1000
- accenttrueon steps 5, 13
ACCENT [STEP], then step keys
Drop, Peak
16 stepsband 3
- —5
- —13 (vel 112)
- —14, 15, 16
On this box — TR-1000
- accenttrueon step 5
ACCENT [STEP], then step keys
Sound design
HCWide clap sitting on top of the snare
Hold [SHIFT]+[GEN], select with [C6]
Clap brightness
Clap against tail, not layers
Hold [SHIFT], press [FILTER]
Tempo-synced rate; if the screen offers a SYNC selector, point it at NOTE
Which of the three assignment slots this uses
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
CH
Step programming
—TR-1000 · CH
Grainy CR-78 hat with a metallic edge — settings in Sound design
Intro, Outro
16 stepsband 0
- —3, 7, 11, 15
On this box — TR-1000
- weaktrueon steps 3, 7, 11, 15
Hold [SHIFT], press step keys
Build, Breakdown
16 stepsband 1
- —2, 10 (all vel 45)
- —3, 7, 11, 15
On this box — TR-1000
- weaktrueon steps 3, 7, 11, 15
Hold [SHIFT], press step keys
Drop, Peak
16 stepsband 3
- —1, 5, 9, 13
- —2, 4, 6, 8, 10, 12, 14, 16 (all vel 42)
- —3, 7, 11
- —15 (vel 108)
On this box — TR-1000
- weaktrueon steps 3, 7, 11
Hold [SHIFT], press step keys
- accenttrueon step 15
ACCENT [STEP], then step keys
Sound design
CHGrainy CR-78 hat with a metallic edge
Hold [SHIFT]+[GEN], select with [C6]
Metal-like overtone level
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
RC
Step programming
—TR-1000 · RC
CR-78 metal ringing across the bar line — settings in Sound design
Intro, Outro
32 stepsband 0
- —17
On this box — TR-1000
- accenttrueon step 17
ACCENT [STEP], then step keys
Build, Breakdown
32 stepsband 1
- —1, 17
On this box — TR-1000
- accenttrueon steps 1, 17
ACCENT [STEP], then step keys
Drop, Peak
32 stepsband 3
- —1 (vel 110)
- —7, 11, 23, 27
- —17
- —32
On this box — TR-1000
- accenttrueon step 17
ACCENT [STEP], then step keys
- weaktrueon steps 7, 11, 23, 27
Hold [SHIFT], press step keys
Sound design
RCCR-78 metal ringing across the bar line
Hold [SHIFT]+[GEN], select with [C6]
Metal-like overtone level
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
CC
Step programming
—TR-1000 · CC
Crash marking the top of a section — settings in Sound design
Drop, Peak
64 stepsband 3
- —1
- —17, 25, 49, 57
- —33 (vel 114)
On this box — TR-1000
- accenttrueon step 1
ACCENT [STEP], then step keys
Sound design
CCCrash marking the top of a section
Hold [SHIFT]+[GEN], select with [C6]
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
OH
Step programming
—TR-1000 · OH
White noise burst on the open-hat track, up where the hats sit — settings in Sound design
Intro, Outro
32 stepsband 0
- —1
Build, Breakdown
32 stepsband 1
- —1, 17
Drop, Peak
32 stepsband 3
- —1, 17
- —7, 15, 23
- —31 (vel 104)
On this box — TR-1000
- accenttrueon steps 7, 15, 23
ACCENT [STEP], then step keys
Sound design
OHWhite noise burst on the open-hat track, up where the hats sit
Hold [SHIFT]+[GEN], select with [C6]
Noise frequency
White at one end, pink at the other
Hold [BD]-[RC], turn REVERB [LEVEL]
Hold [BD]-[RC], turn DELAY [LEVEL]
6Finishing
Sidechain
The TR-1000 ducks from its own parts.
Nothing here ducks to another box, so a rig-wide pump is built box by box.
Master FX
What processes audio in this rig:
- Tracker Mini carries REVERB SEND in its recipes
- TR-1000 carries REVERB, DELAY, MASTER FX and ANALOG FX on the panel, and DLY SEND and RVB SEND in its recipes
Tuning — derived from this arrangement
Loop Peak with the Tracker Mini kick and TR-1000 sub. Sweep the kick's tuning slowly; stop where its tail adds weight instead of beating against the sub, then check the full progression in F minor before committing.
Arrangement variations
Sections that program identically, part for part — build one and copy it:
- band 0 Intro, Outro · 9 parts, 14 strikes
- band 1 Build, Breakdown · 9 parts, 27 strikes
- band 3 Drop, Peak · 10 parts, 73 strikes
and have no pattern authored at any band, so nothing here varies for them.
is held rather than struck, so there is no grid here to vary.