Mark turns the Move into a performance looper in the spirit of the Boss RC-505: five independent stereo tracks, each with its own record → play → overdub cycle, level, pan, reverse, one-shot and insert effect. Loops snap to whole measures, everything lands in sync, and one press of undo takes back the layer you regret. Move keeps playing underneath — its tracks are your rhythm section.
Named after Marc Rebillet — the RC-505's most famous pilot.
Each track's top-row pad walks the RC-505 cycle. The pad's color always tells you where you are:
Blinking pad = scheduled. With quantize on, presses land on the next measure boundary — the pad blinks red (record coming) or green (play coming) until it fires. Press again to cancel.
Stop (row 2) stops the track on the spot; it restarts from the top, on the grid. Hold stop to clear the track entirely.
Record length is quantized to the nearest measure. Stop a hair late and it trims back; stop early and Mark keeps recording to the measure — exactly how the RC does it.
Undo / redo (top right) takes back the last recording or overdub. Press again to bring it back. One level, always the most recent gesture, on any track.
Reverse (row 3) flips playback; reversed tracks refuse overdub (RC rule). One-shot (Shift+row 4) plays the loop once and stops — phrases, risers, hits.
All start/stop fires every non-empty track together from the top, or stops everything at once.
Columns 1–5 are the five tracks; the right three columns are global. Tap any pad below to see what it does. Rows are counted from the top, the way you actually look at the device.
Hold SHIFT — Pan 1–5 · Monitor · Transport follow · BPM override (49 = off, project tempo)
T3 LPF 40.Each track carries one insert effect, toggled from the row-4 pad and shaped by knobs 7–8. Knob 7 moves through Off, LPF, HPF, Crush, Delay, Phaser, Ring, then every installed chainable Schwung Audio FX v2 module. Hold that track's FX pad for 0.6 seconds to open the module's root page: knobs 1–8 follow the same map it advertises to Schwung. Hold again to return. The web mixer builds the same controls automatically.
The RC-505 has 99 memories; Mark has 16 session slots stored on the Move itself — loop audio and all. Levels, pans, reverse and one-shot flags, FX assignments, modes: everything comes back exactly as saved. Power-cycles, module updates, reinstalls — sessions survive them all.
On the pads: tap the Sessions pad (row 3, column 7). The step row becomes the slot grid — green slots hold a session, dim ones are empty. Tap a green slot to load (replaces your current loops, tracks come back stopped — hit All to start). Hold any slot to save into it. Shift+tap deletes a saved slot. Tap the Sessions pad again to go back to the playhead view.
In the web mixer: the Sessions panel shows the same 16 slots with explicit load/save buttons and overwrite confirmations.
While saving or loading (a couple of seconds for big sets), playback keeps running and Mark simply refuses new recordings until the files settle — you can't corrupt a take by grabbing a pad too soon.
/data/UserData/schwung/mark-sessions/ — one folder per
slot with a WAV per track. Copy them off over SSH for safekeeping or
DAW work.Tap the Play-mode pad (row 3, column 6) and the five tracks turn mutually exclusive: starting one stops the others, quantized to the measure. Verse on track 1, chorus on track 2, bridge on track 3 — one pad per section, transitions always on the grid. The RC-505 calls this PLAY MODE: SINGLE.
All-start in single mode starts just the first non-empty track; tap your way through the arrangement from there. Tap the pad again for normal multi-track layering.
With Mark running, open move.local on any device on the same
network → Remote UI → Tool tab. Five channel strips with
faders, pans, reverse/one-shot, FX selectors and amounts; the mode
switches; a live playhead; and the full session grid. Edits sync both ways
— turn a knob on the Move and the browser follows.
With Move's clock (Settings → MIDI Sync → Out): Mark locks to the transport. Records start on Move's measures; your loops and Move's sequencer breathe together. Ableton Link tempo changes follow automatically.
Without clock: your first loop defines the grid — every later track quantizes to it. Free tempo, still tight.
Polyrhythms: tap a step button to set the current track's length — step 15 makes a 15/16 loop against the drums' 16. Or set the quantize grid finer up front (Shift+Quantize: measure → beat → 8th → 16th) so record lengths round to it. Either way the measure grid stays anchored for the other tracks, and trimmed audio comes back when you lengthen.
Transport follow (Shift+knob 7) decides what happens when Move's transport stops: Free (default) keeps loops running — Mark is its own transport; Follow pauses with Move and restarts loops from their top on play.
BPM override (Shift+knob 8) pins the free-run grid to a tempo when you're not sending clock. 49 = off.
Open schwung-manager at move.local:7700, open the
Module Store, search for Mark, then choose Install or Update.
For a manual install, paste https://github.com/timncox/schwung-mark
under Install Custom Module, or upload mark-module.tar.gz from the
latest release.
Requires schwung on
your Move.