Work &Overwork

Work is the audio_fx build. It drops into a Signal Chain slot or a Master FX slot and processes whatever is upstream.

Overwork is the overtake build. It takes over Move’s whole surface and runs the same twenty-six machines on the live input — mic, line, or USB-C — with a step sequencer driving parameter locks.

Both are eight tracks. A track is a source machine, two insert effects, a voice filter, three LFOs, a modulation envelope, level and pan — and its own lane in the sequencer, with its own trigs, its own parameter locks and its own micro-timing. The chain build hands its input to track 1; the other seven play from their own sources.

Why the surface maps so cleanly

The gesture that defines hardware step sequencing — hold a step, turn an encoder, and that step remembers the value — needs eight encoders and a row of trig keys under your fingers at once. Move has eight knobs and sixteen dedicated step buttons, so it is a 1:1 map rather than an approximation.

Three stages in series, each holding one machine. The first is the source stage: it takes a sample machine, so loading one costs you no insert. The two insert slots after it take effects. The FX LFOs reach any stage parameter, and in Overwork the sequencer’s parameter locks sit between the base value and the LFOs.

A stage only accepts machines from its own family, and says so rather than substituting something near enough: you cannot put a reverb in the source stage or a sampler in an insert. That is what makes the pads predictable — the palette shows the machines the focused stage will actually take.

A lock sets the value; the LFO then moves around whatever the lock set. Pointing a lock and an LFO at the same parameter is well defined, not a fight.

Hold a step button. Turn a knob. That parameter is now locked on that step. Release the step and the knob goes back to editing the base value.

Also on a held step

Every machine belongs to a family, and a family decides which stage will take it. Twenty-one effects process what reaches them and load into either insert. Six sources load into the source stage; five of them replace the input with a sample instead of treating it, which is what lets Work originate audio rather than only colour it. Bypass belongs to both, because every stage needs a way to be empty.

Each card below says where its machine loads. Machine order is the preset format and is append-only. Loading a machine installs its own defaults, and switching machines clears that stage so no reverb tail leaks into whatever loads next.

Five machines read a sample rather than their input, and all five live in the source stage. One sample is loaded at a time and every one of them shares it, so switching between One Shot, Slicer and Wavescan auditions the same audio three ways — and none of it costs you an insert.

Where the source machines stop

All five read the one loaded sample, and that single buffer is the limit worth knowing about. Polysample is polyphonic and has real vibrato, but there are no multi-sampled instruments — every note plays the same buffer transposed. Slicer gives you the playback controls, not eight sample tracks; Work is one source stage and two inserts, not a multitrack sampler. Wavescan has no wavetable library, so the loaded sample is the wavetable, read as a series of 2048-frame waves — load a wavetable file and it behaves as one, load a drum loop and you get something else.

Feedback protection

Overwork reads the mic and puts the result on the speakers, which is a feedback loop waiting to happen. schwung’s own guard only walks Signal Chain slots, so it never sees an overtake module at all — Overwork carries its own.

Whenever the speakers are live with nothing plugged into the input jack, the live input is muted automatically and the screen says so. Shift + the Fill pad overrides it, and the override stands until the jack state itself changes, so the guard never fights you.

The input is muted at the input, not the output — so reverb tails and delay repeats ring out and decay naturally instead of being cut dead.

Pattern bank and song mode

Sixteen patterns; Shift + a step button selects one, the way it works on the hardware. Song rows chain patterns with a repeat count and an optional length override, and pad 83 switches between pattern and song playback. Each pattern carries its own length and page mask, so switching pattern switches those too.

Undo, redo, memorize

Pad 81 undoes the last destructive edit and Shift+tap redoes it; pad 82 recalls on a tap and memorizes on a hold. Every transform, clear and recall takes a snapshot first.

Trig types

A full trig applies its locks and restarts the LFOs and modulation envelope. A lock trig applies its locks and nothing else. With no voices to place notes for, that is the distinction that carries over.

Live recording

Shift + Play arms it. With the sequencer running, turning a knob writes a parameter lock onto whichever step is playing and arms a trig there — the same path a MIDI CC takes, so an external controller records locks too. The play pad turns red while armed.

Probability

Every step carries its own probability, 1–100, separate from its trig condition — both gates must pass. Shift + the pattern-page pad selects probability mode, then hold a step and turn the jog.

Modulation

Four LFOs in two families, plus an AHD modulation envelope that restarts on every firing trig. Resolution order is base → parameter lock → envelope → LFOs, so each stage rides the one before it.

A voice LFO cannot be pointed at an insert, and that is the point rather than a limitation: a single flat destination list would be twice as long to page through on one encoder, and most of it would be somewhere you did not mean. The two ranges both count from zero and mean different things, so the destination readout always names what it found — SRC C, F.RESO, FX2 A.

MIDI

Track N listens on channel N. Channel 1 drives track 1, channel 8 drives track 8, and the map below is the same on every one of them — so eight tracks come off one external sequencer without anything new to learn. A channel above the eighth reaches nothing at all, rather than falling through to whichever track you happen to be looking at.

External CC only — Move’s own encoders arrive as internal CCs and are ignored, and a duplicate inside two blocks is dropped.

The source stage sits at 80 rather than continuing after 26, because 27–31 is not eight controls wide — and because 8–26 was published meaning the inserts and the dry/wet, which is still exactly what it means.

Presets

Shift + jog click opens the preset browser. The jog scrolls, a click loads, and the top entry saves a new one; the clear pad deletes the selected preset. Presets are stored outside the module directory, so reinstalling Overwork does not remove them.

Pattern length runs to 64 steps across four pages. The sequencer also exists in the chain build, where it defaults to off — a sequenced FX in a Signal Chain slot is a real use, not an accident.

Overwork and Work In carry a full editor you reach from any browser on the same network. Open move.local:7700, go to the Tool tab with Overwork running, or to a chain slot holding Work In. Nothing to install — the page ships inside the module.

It shows all eight tracks at once, which the Move’s screen cannot: each track’s source machine and level along the top, then the selected track in full — the three stages under their loaded machines’ own knob names, the voice filter, four LFOs, the modulation envelope, and the pattern. Clicking a track changes the selection on the device too. It is the same instrument, not a copy of it.

Every parameter shows two numbers when they differ: what the knob is set to, and what the sound is actually using once a parameter lock or an LFO has moved it. A modulated parameter otherwise looks like a stuck one.

Edits go both ways. Turn a knob on the Move and the browser follows; change something in the browser and the Move’s screen follows within a fraction of a second. The device notices by polling a cheap revision counter rather than re-reading its whole state, so nothing slows down while you play.

The Work chain-slot build has no page of its own — schwung only serves a custom editor for a slot’s instrument, not its effects. It gets schwung’s own generated controls instead, with the knob names of whichever machines are loaded, which needs schwung 0.11.7 or newer.

After updating a module already on the device, fully exit it — Shift + Volume + jog click from inside — and relaunch. Pressing Back only suspends the session, which resumes the old code.