Each layer has its own chords: voicing, octave, bass, hold and progression. The chord pads, keys A–J and this tab play and edit the layer you're editing (switch with the A/B buttons or Tab), so A can run a progression while B holds a single chord with its arp. "B follows A" makes B play whatever A plays, with B's own voicing and octave (an arp sequence on A over a pad on B). "Same key A+B" keeps key and scale shared. For mono arps, pick the voicing "Single note" (or "Octave"): each pad or sequencer step then sends just the root of that degree, and the arp's octave setting turns it into a line; turn Smooth voicing off to keep every note in the same octave. Smooth voicing picks the inversion closest to the previous chord, so changes move by small steps. Press higher on a pad for more velocity. Keys A–J play degrees I–VII, K toggles hold.
Progression
Turn on Learn and tap pads to build a sequence of up to 16 chords. Drag chords from the dashed row into the progression, drag chips to reorder them, or drag a chip out of the row to remove it. Tap a chip to select it for the move, duplicate and delete buttons. Tapping a dashed chord (or Learn) adds it after the selected chip, or at the end. While it plays, chords change legato on the beat grid, so the arp keeps running. Tapping a pad takes over and stops it. P plays or stops.
Synth keyboard
Sets the MicroMonsta's own key and scale, turns on scale processing for external MIDI and switches its built-in chord voicing off, so a keyboard plugged into the synth stays in key with these pads. Save on the synth to keep it.
Drag the crossfader to blend between two scenes: both orbs and both layers' macros move smoothly between the two scenes' positions. Auto-glide crosses to the other end over the chosen number of bars. Programs, chords and arps don't change; recall a scene for those. Learn a hardware fader to it for hands-on morphing.
Four-corner morph
Pick a scene for each corner, then drag the puck: both orbs and both layers' macros blend between the four scenes, weighted by how close the puck is to each corner (the Orbs and Macros buttons above choose what moves). Programs, chords and arps don't change. In MIDI learn, click the pad and move two knobs: the first one is X, the second Y.
Mutate
Nudges every sound parameter of the layer you're editing by a random amount, up to the chosen share of each parameter's range (100 % can move a value by half its range). Layer volume, glide and arp gate are left alone, as are tempo-synced LFO speeds and delay times and the two parameters the orb is on. Levels, feedback, resonance and drive stop at a safe ceiling. Mutate starts from the sound's current values, so Read the sound first. Undo in the message puts every value back.
Steps
Each step recalls a scene and holds it for a number of bars. Play starts on the next bar and every change lands exactly on a bar line; scenes with program changes are sent early (the same lead as quantized launches) so the new sound is there on the downbeat. Without Loop the tracker stops after the last step and the sound keeps playing. Panic stops the tracker. With Follow incoming MIDI clock on, the tracker counts the clock: Start restarts it from step 1, Stop pauses it, Continue resumes. The dice shuffles the stored scenes into a new tracker sequence.
Modulation row
Paint steps with the brush; drag across to paint several. Tap the strip under a step to cycle low, mid, high, random. The row only changes the sound when a mod slot uses the arp source; the route button sets slot 12 to arp → cutoff, +40. The lit step is an estimate from tempo and speed; MIDI clock keeps the tempo identical, but the synth may start its pattern a step or two apart.