Sequentix Cirklon Instrument Definitions Collection

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Abstract

This repository provides a collection of MIDI Control Change (CC) mapping files (.cki format) for the Sequentix Cirklon hardware sequencer to control various hardware synthesizers. The instrument definitions enable comprehensive parameter automation across multiple synthesis engines, leveraging the standard MIDI 1.0 protocol for real-time performance control and studio sequencing workflows.

Current Instruments:

• Plinky Synthesizer (Synth Mode, Sampler Mode) — Touch-plate synthesizer with granular sampling, dual envelopes, four LFOs, arpeggiator, step sequencer, and effects (delay, reverb)

Key Features:

• Complete MIDI CC mapping for synthesis parameters (60+ per instrument)
• MPE-style multi-column position and pressure outputs (Plinky)
• Euclidean rhythm integration (arpeggiator and sequencer)
• Granular synthesis parameter control (grain size, scrub, jitter)
• Per-step parameter locks (p-locks) support

Application: Live electronic music performance, studio MIDI sequencing, generative music systems, hardware synthesizer integration.

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1. Introduction

1.1 Sequentix Cirklon

The Sequentix Cirklon is a 16-track hardware MIDI sequencer featuring:

• 192 PPQN (pulses per quarter note) resolution
• Pattern-based sequencing with up to 128 steps per pattern
• Per-step parameter locks (p-locks) for granular automation
• Euclidean rhythm generator for algorithmic pattern creation
• MIDI CC automation with 14-bit high-resolution control

1.2 Plinky Synthesizer

Plinky (designed by Plinkysynth) is a touch-sensitive synthesizer with:

• 8-column hexagonal touch plate (MPE-style multi-touch)
• Dual oscillator (wavetable + distortion)
• Granular sampler (grain size, scrub, time-stretch)
• Dual ADSR envelopes (Env1 for amplitude, Env2 for modulation)
• Four LFOs (A, B, X, Y) with offset and depth control
• Built-in arpeggiator and step sequencer (Euclidean patterns)
• Effects: Delay (ping-pong, wobble), Reverb (shimmer, wobble)

1.3 MIDI Control Change Protocol

MIDI CC messages (Control Change, status byte 0xBn) transmit parameter automation:

$$ \text{MIDI CC Message} = \langle \text{Status}, \text{CC Number}, \text{Value} \rangle $$

where:

• Status: 0xB0–0xBF (channel 1–16)
• CC Number: 0–127 (parameter ID)
• Value: 0–127 (7-bit resolution)

Example (Set Filter Resonance to maximum on channel 1):

0xB0 0x47 0x7F
(Channel 1, CC 71, Value 127)

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2. Mathematical Foundations

2.1 MIDI-to-Parameter Scaling

Linear scaling from MIDI value to synthesis parameter range:

$$ P = P_{\text{min}} + \frac{V_{\text{MIDI}}}{127} \cdot (P_{\text{max}} - P_{\text{min}}) $$

where:

• $V_{\text{MIDI}} \in [0, 127]$ = MIDI CC value
• $P$ = synthesis parameter (e.g., cutoff frequency, LFO rate)
• $[P_{\text{min}}, P_{\text{max}}]$ = parameter range

Example (LFO Rate, 0.01–20 Hz):

$$ f_{\text{LFO}} = 0.01 + \frac{V_{\text{MIDI}}}{127} \cdot (20 - 0.01) \approx 0.01 + 0.157 \cdot V_{\text{MIDI}} $$

2.2 Euclidean Rhythm Generation

Euclidean patterns (Toussaint, 2005) distribute $k$ pulses across $n$ steps with maximal evenness:

$$ \text{Pattern} = E(k, n) $$

Examples:

• $E(3, 8) = [1, 0, 0, 1, 0, 0, 1, 0]$ (standard tresillo rhythm)
• $E(5, 8) = [1, 0, 1, 1, 0, 1, 1, 0]$ (Cuban cinquillo)

MIDI CC control:

• CC 106 (Arp EuclidLen): Sets $n$ (pattern length, 1–16)
• CC 111 (Seq EuclidLen): Sets $n$ for step sequencer

2.3 Granular Synthesis Parameters

Grain synthesis (Roads, 2004) segments audio into short overlapping grains:

$$ y(t) = \sum_{i} a_i \cdot w(t - t_i) \cdot s(t - t_i + p_i) $$

where:

• $a_i$ = grain amplitude
• $w(t)$ = window function (Hann, Gaussian)
• $s(t)$ = source audio
• $p_i$ = grain scrub position

Plinky grain parameters:

• CC 16 (GrainSize): Duration $\tau \in [1, 500]$ ms
• CC 15 (Scrub): Position $p \in [0, 1]$ (normalized)
• CC 17 (PlaySpeed): Playback rate $r \in [-2, +2]$ (octaves)
• CC 18 (Timestretch): Time-stretch factor (preserves pitch)

2.4 ADSR Envelope Equations

Attack-Decay-Sustain-Release (ADSR) envelope:

$$ y(t) = \begin{cases} \frac{t}{T_A} & 0 \leq t < T_A \\ 1 - \frac{t - T_A}{T_D}(1 - S) & T_A \leq t < T_A + T_D \\ S & T_A + T_D \leq t < T_{\text{release}} \\ S \cdot e^{-\frac{t - T_{\text{release}}}{T_R}} & t \geq T_{\text{release}} \end{cases} $$

where:

• $T_A$ = Attack time (CC 73, Env1 Attack)
• $T_D$ = Decay time (CC 75, Env1 Decay)
• $S$ = Sustain level (CC 74, Env1 Sustain)
• $T_R$ = Release time (CC 72, Env1 Release)

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3. Instrument Definition Format (.cki)

3.1 File Structure

[INSTRUMENT]
name = Plinky - Synth Mode
port = 1               # MIDI port (1-4)
channel = 1            # MIDI channel (1-16)
flags = poly_at        # Polyphonic aftertouch

[CC]
# CC_Number = Parameter_Name
13 = Osc Shape
71 = Resonance
...

[OUTPUT]
# MIDI CC outputs from Plinky touch columns
32 = Pos Col1
...

[PROGRAMS]
# Program change mapping
0 = Patch 1
127 = Patch 128

3.2 CC Number Allocation

Standard MIDI CC assignments (MIDI 1.0 spec):

• 0–31: High-resolution controllers (14-bit with LSB at +32)
• 64–69: Switches (sustain, portamento, etc.)
• 70–79: Sound controllers (filter, envelope)
• 91–95: Effects depth (reverb, chorus, delay)
• 102–119: Undefined (available for custom use)

Plinky custom CC assignments (102–119):

• 102–107: Arpeggiator controls
• 108–111: Sequencer controls
• 112–114: Effect modulation (ping-pong, wobble)
• 116–118: Granular jitter parameters

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4. Parameter Categories

4.1 Oscillator Section

CC	Parameter	Range	Description
13	Osc Shape	0–127	Wavetable position (sine → saw → square)
4	Osc Distortion	0–127	Waveshaping amount (soft → hard clip)
9	Osc Pitch	0–127	Coarse tuning (-24 to +24 semitones)
14	Osc Interval	0–127	Dual oscillator detuning (cents)
2	Noise Level	0–127	White noise mix (0% to 100%)
5	Glide	0–127	Portamento time (0 to 5 seconds)

4.2 Filter and Envelopes

CC	Parameter	Range	Description
71	Resonance	0–127	Filter resonance (Q factor)
31	HPF Amount	0–127	High-pass filter cutoff
73	Env1 Attack	0–127	Amplitude envelope attack (1 ms to 10 s)
74	Env1 Sustain	0–127	Sustain level (0% to 100%)
75	Env1 Decay	0–127	Decay time (1 ms to 10 s)
72	Env1 Release	0–127	Release time (1 ms to 10 s)
19–23	Env2 Level/ADSR	0–127	Modulation envelope (filter, pitch)

4.3 LFOs (A, B, X, Y)

CC	Parameter	Range	Description
24	LFO A Rate	0–127	Frequency (0.01 Hz to 40 Hz)
25	LFO A Depth	0–127	Modulation amount (0% to 100%)
26	LFO A Offset	0–127	DC offset (-50% to +50%)
27–29	LFO B Rate/Depth/Offset	0–127	Secondary LFO
76–81	LFO X/Y Rate/Depth/Offset	0–127	Touch column LFOs

4.4 Arpeggiator and Sequencer

CC	Parameter	Range	Description
101	Arp Latch	0/127	Latch notes (on/off)
102	Arp OnOff	0/127	Arpeggiator enable
103	Arp Order	0–127	Up, down, random, as-played
104	Arp ClockDiv	0–127	Clock division (1/4, 1/8, 1/16 notes)
105	Arp Chance	0–127	Note probability (0% to 100%)
106	Arp EuclidLen	1–16	Euclidean pattern length
107	Arp Octaves	1–4	Octave range
108–111	Seq Order/ClockDiv/Chance/EuclidLen	0–127	Step sequencer controls
83	Seq Pattern	0–127	Pattern selection
85	Seq Steps	1–16	Sequence length

4.5 Effects (Delay and Reverb)

CC	Parameter	Range	Description
94	Delay Send	0–127	Delay send level (0% to 100%)
12	Delay Time	0–127	Delay time (1 ms to 2 seconds)
112	Delay PingPong	0/127	Stereo ping-pong enable
113	Delay Wobble	0–127	Pitch modulation depth
95	Delay Feedback	0–127	Feedback amount (0% to 100%)
91	Reverb Send	0–127	Reverb send level
92	Reverb Time	0–127	Decay time (0.1 to 10 seconds)
93	Reverb Shimmer	0–127	Pitch-shift feedback (octave up)
114	Reverb Wobble	0–127	Reverb modulation depth

4.6 Granular Sampler

CC	Parameter	Range	Description
15	Sample Scrub	0–127	Playhead position (0% to 100%)
16	Sample GrainSize	0–127	Grain duration (1 to 500 ms)
17	Sample PlaySpeed	0–127	Playback rate (-2 to +2 octaves)
18	Sample Timestretch	0–127	Pitch-independent time-stretch
82	Sample Select	0–127	Sample bank selection
116	Jitter Position	0–127	Grain start randomization
117	Jitter Grain	0–127	Grain size randomization
118	Jitter Rate	0–127	Grain spawn rate randomization

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5. MPE-Style Touch Output

5.1 Multi-Column Position and Pressure

Plinky outputs MIDI CC for 8 touch columns:

CC Range	Function
32–39	Position Col 1–8 (X-axis touch position)
40–47	Pressure Col 1–8 (Z-axis touch pressure)

MPE (MIDI Polyphonic Expression) mapping:

$$ \text{Position}_i = \frac{x_i - x_{\text{min}}}{x_{\text{max}} - x_{\text{min}}} \cdot 127 $$

where $x_i$ = touch coordinate on column $i$.

Cirklon integration:

• Record position/pressure CC automation per step
• Create dynamic filter sweeps, pitch bends, or LFO modulation
• Humanize sequences with pressure velocity scaling

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6. Project Structure

CirklonSynthDefs/
├── Plinky-SynthMode.cki               # Synth mode mapping
├── Plinky-SamplerMode.cki             # Sampler mode mapping
├── Plinky_instrument_defs.pdf         # Official parameter documentation
└── README.md

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7. Installation and Usage

7.1 Prerequisites

Hardware:

• Sequentix Cirklon sequencer (firmware 1.70+)
• Plinky synthesizer (firmware 1.07+)
• MIDI cables (5-pin DIN or USB MIDI)

7.2 Loading Instrument Definitions

1. Transfer .cki files to Cirklon:

   • Copy files to Cirklon SD card via USB
   • Navigate to SETUP > INSTR DEFS > LOAD

2. Assign to track:

   • Press TRACK button
   • Select INSTRUMENT > Plinky - Synth Mode

3. Configure MIDI routing:

   • Set MIDI port (1–4) and channel (1–16)
   • Enable polyphonic aftertouch if using MPE

7.3 Workflow Examples

Example 1: Euclidean Arpeggiator Pattern

Track 1: Plinky - Synth Mode
Step 1:  Note C4, CC 106 = 8 (EuclidLen), CC 105 = 100 (Chance 100%)
Step 2:  CC 104 = 32 (ClockDiv 1/16)

Example 2: Granular Sweep Automation

Track 2: Plinky - Sampler Mode
Step 1-16: CC 15 ramp 0 → 127 (Scrub position sweep)
Step 8:    CC 16 = 64 (GrainSize medium)

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8. References

MIDI Protocol

• MIDI Manufacturers Association (1996). The Complete MIDI 1.0 Detailed Specification. MMA.
• Wright, M. (2005). "Open Sound Control: State of the art 2003". Contemporary Music Review, 24(2-3), 91-98.

Synthesis Techniques

• Roads, C. (2004). Microsound. MIT Press.
• Toussaint, G. T. (2005). "The Euclidean Algorithm Generates Traditional Musical Rhythms". Proceedings of BRIDGES: Mathematical Connections in Art, Music and Science, 47-56.
• Puckette, M. (2007). The Theory and Technique of Electronic Music. World Scientific.

Hardware Documentation

• Sequentix Cirklon Manual: https://sequentix.com/cirklon
• Plinkysynth Documentation: https://www.plinkysynth.com

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9. License

MIT License (2025)

Copyright (c) 2025 George Redpath

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10. Author

George Redpath (Ziforge) GitHub: @Ziforge Focus: Hardware synthesis, MIDI sequencing, generative music systems

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11. Acknowledgments

• Sequentix — Cirklon hardware sequencer design
• Plinkysynth — Touch-plate synthesizer development
• MIDI Manufacturers Association — MIDI protocol standardization

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12. Citation

@misc{redpath2025cirklon,
  author = {Redpath, George},
  title = {Sequentix Cirklon Instrument Definitions for Plinky Synthesizer},
  year = {2025},
  publisher = {GitHub},
  url = {https://github.com/Ziforge/CirklonSynthDefs}
}

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Built for hardware synthesis integration and MIDI sequencing workflows.