Frequently asked questions

Pick one master clock and split your gear into two sync worlds. The OP-1 field and the K.O. IIs speak MIDI clock, so run MIDI/USB from your master (the TX-6 works well as the hub) to those devices and set them to follow external clock. Pocket Operators don't do MIDI — they sync to an audio click on the left channel, so feed them a sync signal from a PO set to send sync, a dedicated sync box, or a MIDI-to-audio-sync converter, and chain the POs from there. Decide up front whether your MIDI master or your PO chain is the timing reference and derive the other from it, so everything starts from one tempo.

By default the TX-6 will try to charge whatever you plug into its USB ports, which can pull power from a phone, iPad, or OP-1 field. Turn on the "USB GND isolation" setting, which disables the charger. The catch is that on its own it doesn't always survive a restart — save it into a scene so the setting loads when the device powers on, which several owners report makes it stick.

Yes. Send the TX-6's main output into the TP-7 and hit record — either over USB-C, where the TP-7 acts as the recorder/interface for the TX-6's mix, or with a line cable from the TX-6 output to the TP-7's input. Watch your levels on the TX-6 so you're not clipping into the TP-7, and if you want to keep using the TX-6's aux sends/returns, take the recording feed from the main out rather than a channel you've routed away.

If your priority is simply capturing performances to a file dawless, the TP-7 is the cleaner choice: it's a focused recorder and USB interface and tends to "just work." The TX-6 is a full mixer that also records, which is great if you want to blend several sources, but some users hit glitches recording to USB sticks on it. One thing to know about the TP-7: you can scratch the reel during playback, but it doesn't record that scratching — it only affects playback of an existing file. So pick the TP-7 for a straightforward mobile recorder, the TX-6 if you also need a mixer.