Session 19: Scene Fundamentals — Assign, Fade, Mute

Objective: Assign your first scenes (Scene A and Scene B). Use the crossfader to morph between them. Use scene mutes for instant jumps between mix states. The crossfader becomes your most expressive performance tool.

Warm-Up (2 min)

In Module 6 you used LFOs to add motion. Scenes are different — they capture a snapshot of any parameter values, and the crossfader interpolates between two snapshots in real time. Press [PLAY] on a pattern from your LAB project. Move the crossfader fully left, then fully right. If nothing changes, no scenes are assigned yet — that's what this session fixes.

Setup

Start from the LAB project with at least one good-sounding pattern: drums on Track 1, a bass or melodic sample on Track 2, and a texture/pad on Track 3. Each should have a few trigs and an FX1 with a Multi Mode Filter (Session 10's setup is fine).

Press [STOP] twice to reset to step 1. Make sure the crossfader is fully left (Scene A position) before assigning anything.

Exercises

Exercise 1: Assign Your First Scene (5 min)

The fundamental gesture: hold a SCENE key + tap a TRIG slot to assign.

1. The OT has 16 scene slots, addressed by [TRIG 1] through [TRIG 16]. Slot assignments are independent for the A and B sides
2. Hold [SCENE A] — keep it pressed. The screen shows scene assignment mode
3. While holding, tap [TRIG 1] to assign Scene A to slot 1. Scene A now points at slot 1, which currently captures the live parameter values
4. Release. The [TRIG 1] LED indicates Scene A's assignment
5. Now switch which scene is captured: Hold [SCENE B] + tap [TRIG 2] to assign Scene B to slot 2

Exercise 2: Capture a "Destroyed" Scene B (6 min)

Scenes only become useful when they capture different states. Build Scene B to sound dramatically different from Scene A.

1. Make sure crossfader is at the right edge (Scene B is fully active). Any parameter you change now will be captured into Scene B's snapshot
2. Press [TRACK 1] then [FX1]. Lower the filter FREQ to 30 (closed)
3. Press [FX2]. If you have Echo Freeze Delay set up, raise the FEEDBACK to 90
4. Press [TRACK 2] then [FX1]. Lower FREQ to 40 and raise RESONANCE to 100 for screaming filter
5. Press [TRACK 3] then [AMP]. Boost the LEVEL by 20
6. Now slowly slide the crossfader fully left (Scene A). You should hear everything snap back to clean
7. Slide right again. Filtered, feedback delay, resonant, louder. The transformation is complete

The mental model: Scene A and Scene B each store a parameter snapshot. The crossfader interpolates between them. Anything you tweak while the crossfader is at one edge updates that scene's snapshot.

Exercise 3: Crossfader as an Expression Controller (5 min)

The slider is not a switch — it's a continuous controller. Practice using it musically.

1. Press [PLAY]. Start with crossfader fully left (clean Scene A)
2. Slow morph (4 bars): Across 4 bars, slide the crossfader from left to right. Hear how each parameter interpolates: filter opens → closes, delay feedback grows, level rises. This is your "build into the drop" gesture
3. Snap-and-return: Slide all the way right on a downbeat, then snap back to left on the next downbeat. This is your "moment of chaos" gesture
4. Edge-only: Hover near the right edge so Scene B is mostly active but not fully — you get partial-scene textures unique to that crossfader position
5. The slider's resolution is high; tiny movements produce tiny parameter shifts. Use it like a violin bow

Exercise 4: Scene Mute as Instant Jump (5 min)

Sometimes you don't want a slow morph — you want an instant transformation. Scene mutes give you that.

1. With the crossfader at one edge (say, fully left = Scene A active), press [FUNC] + [SCENE B] to mute Scene B. The crossfader's right-side influence is now disabled even if you slide it all the way right
2. Press [PLAY]. Slide the crossfader to the right. Nothing changes — Scene B is muted
3. Unmute on the downbeat: Press [FUNC] + [SCENE B] again right on a beat. Scene B snaps active immediately at the crossfader's current position. Instant transformation, perfectly synced to the beat
4. Repeat for Scene A: press [FUNC] + [SCENE A] to mute, then unmute. The crossfader's left side is gated
5. Performance trick: Pre-position the crossfader fully right with Scene B muted. On the drop, unmute Scene B — the entire mix transforms in zero time. This is the OT's instant-drop gesture

Exercise 5: Save and Reload (2 min)

Scenes are stored in the Part. If you don't save, they're lost on Part reload.

1. Press [STOP]. Save the Part: [FUNC] + [PART] → SAVE → confirm
2. Test the safety net: change a Scene B parameter (turn any knob with crossfader right), then reload the Part: [FUNC] + [CUE]. The change reverts. You're back to the saved Scene B
3. Save the Project: [FUNC] + [PROJ] → confirm

Output Checklist

• I assigned Scene A to one TRIG slot and Scene B to a different TRIG slot
• Scene A and Scene B sound dramatically different
• I morphed between them with the crossfader (slow and fast gestures)
• I muted and unmuted scenes for instant jumps
• I saved the Part and Project

Key Takeaways

• Hold [SCENE A/B] + [TRIG] = assign that scene to that slot. Slots are addressed by the 16 TRIG keys
• Crossfader interpolates between Scene A's snapshot and Scene B's snapshot — it's not a switch, it's a continuous morph controller
• Whichever scene side is "active" (crossfader at that edge) is the side being edited when you turn knobs
• [FUNC] + [SCENE A/B] = mute that scene — gates the crossfader so you can pre-set a destination and snap to it on the beat
• Scenes live in the Part — save the Part to keep them

Next Session Preview

Next: XVOL, XLEV, and using scenes specifically for mix fades. The two volume parameters are the secret to professional-sounding scene transitions — fade tracks in, let reverb tails ring, control headroom. Performance mixing.