, www.propellerheads.se

Made in Sweden

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, Operation Manual
Change the tempo of a groove without altering its pitch and vice versa! , Change the feel of your grooves, or quantize them! , Create endless variations and fills out of a single loop! , Total Loop Control
Operation Manual by Synkron: Ludvig Carlson, Anders Nordmark and Roger Wiklander. The information in this document is subject to change without notice and does not represent a commitment on the part of Propellerhead Software AB. The software described herein is subject to a License Agreement and may not be copied to any other media expect as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Propellerhead Software AB. 2002 Propellerhead Software and its licensors. All specifications subject to change without notice. ReCycle is a trademark of Propellerhead Software. All other commercial symbols are protected trademarks and trade names of their respective holders. All rights reserved.

D Table of Contents

Introduction
Welcome to ReCycle 2.0! What can I do with ReCycle? Copyright Issues About This Manual

Windows Installation

Requirements Setting Up The Computer Turning on your system Finding your way on the ReCycle CD-ROM Installing the Acrobat Reader Installing ReCycle Setting Up The Sampler, MIDI and SCSI Read the Read Me file! Register your software! Launching ReCycle Audio Settings Getting Help and Additional Info

Macintosh Installation

Requirements Setting Up The Computer Turning on your system Finding your way on the ReCycle CD-ROM Installing the Acrobat Reader Installing ReCycle Setting Up The Sampler, MIDI and SCSI Read the Read Me file! Register your software! Launching ReCycle Setting up Audio System Information Memory setting and Audio files Getting Help and Additional Info

Quick Tour of ReCycle

How ReCycle Works Using ReCycle - Step By Step Exporting to File

Sampler Settings

The Sampler Settings dialog
Opening and Receiving Audio
About Sounds and Memory Using Open Using Drag and Drop Launching from Files Receiving Audio from the Sampler If the Do you want to move the left locator. dialog appears

TABLE OF CONTENTS

The ReCycle Window
Window Overview Handling Windows Magnification, Song Position and Scrolling Waveform Display Options The View Menu The Edit Menu Context Menu Items
Transmit and Sampler Options
Selecting a Sampler to Transmit to Transmit and Memory Transmit Options The Transmit dialog

Saving and Exporting

Saving ReCycle Documents Exporting Files

Playing Audio

Audio Quality Playing the entire Loop Auditioning Slices Preview mode

Example Applications

Which Samples will work? The Simple Trim Slicing for Tempo Changes - Sampler and REX Slicing for Tempo Changes - Exporting to Audio File Slicing for Editing Using Silence Selected Extracting a Groove Quantizing Audio Extracting Sounds Using Loops with unusual length or cutting

In this case, please contact the producer to find out exactly what applies. Again, do not use any material from this medium without making sure it is properly cleared for use.

Clearing

So, how do you go about obtaining permission to use a recording, often referred to as clearing a sample? The owner of a CD is listed on the CD, in conjunction with a P symbol and a date. Contact the owner to obtain permission. If you cant find the owner, contact the company following the symbol on the CD. If you cant find that either, contact the manufacturer or record label listed on the packaging. Please note that there are several types of clearance, for different types of usage. Preferably contact an attorney familiar with copyright law, for assistance.

INTRODUCTION

About This Manual

MacOS vs. Windows

The documentation is both for the MacOS and Windows versions of ReCycle 2.0. Most pictures show the Macintosh version but things are identically titled and positioned in both versions. Sometimes, a key command is different in the two versions. This is indicated like this: Hold down [Option] (Mac) / [Alt] (Win) and. Everything said in the manuals applies to both platforms, unless explicitly stated otherwise.
On-Line Help (Windows only)
ReCycle for Windows has on-line help with a Menu Reference, window help and help for specific dialogs from within the program.

D Macintosh Installation

Requirements
To use ReCycle for Macintosh you need the following: Any Power Macintosh with a CD-ROM drive and 16-bit audio. 16 MB of RAM or more. System 8.6 or later. A MIDI interface and cables, and/or. A SCSI interface and SCSI cables. For communication with your specific sampler, you might also need:
Finding your way on the ReCycle CD-ROM
Once you have turned on your system, insert the ReCycle CD-ROM and open it in the Finder. At the root of the CD-ROM, you will find a file called Read Me. Double click this to get information about what is what on the CD-ROM.
For SCSI communication, your computer must use SCSI Manager 4.3 (see page 13).
Installing the Acrobat Reader
To be able to read the online documentation, you must have the Acrobat Reader application installed. If this isnt already installed on your computer, you need to install it from the ReCycle CD-ROM: 1. On the ReCycle CD-ROM, open the folder Acrobat Reader and double click on the file Reader Installer. 2. Follow the instructions in the dialogs that appear.

Setting Up The Computer

Before proceeding, your computer should be set up and you should be reasonably familiar with its operation. You should also install all peripherals, such as a MIDI interface etc.

Turning on your system

1. If you have any peripherals connected to the computer or sampler, always turn these on first. 2. If you are using a sampler with the operating system on a floppy disk or hard disk, make sure the operating system is loaded before you turn on your computer. 3. Turn on the computer. It should come alive, showing the desktop after a while. If it doesnt, check your SCSI setup. 4. Make sure Virtual Memory is Off, in the Memory Control Panel. This is necessary for trouble-free audio playback. If Virtual Memory is On, turn it off and restart the computer.

Depending on the type of sampler, the Unknown Hardware alert may be shown again and you may have to perform the steps above several times. This is perfectly normal - just go through with it. You will only have to do this the first time you start the computer with the sampler connected.
In the ReCycle folder that was created on your hard disk during installation, you will find a file called Read Me. This will contain any late-breaking updates that didnt make it into the manual. Please double click on it and read it before proceeding.

Audio Settings

After launching ReCycle, you should open the Preferences dialog on the Edit menu and check the Audio Card Driver settings.
D If there is no specific ASIO driver, you should select the Direct Sound driver for the audio hardware. This makes ReCycle communicate with the hardware via Direct Sound (a part of the Microsoft DirectX package). For this to be possible, you need to have DirectX installed on your computer, and there must be a Direct Sound driver for the audio hardware. The Audio Preferences dialog changes appearance if a Direct Sound (or MME) driver is selected.
The Audio Preferences with an ASIO driver selected.
Selecting an Audio Card Driver
The first thing to do is to select a driver for your audio card. All available drivers are listed on the Audio Card Driver pop-up menu. Select after the criteria listed below: D If you are using audio hardware for which there is a specific ASIO driver, you should select this. With an ASIO driver written specifically for the audio hardware, ReCycle can communicate more or less directly with the audio hardware. If you select an ASIO driver, some additional items will be available in the Audio Preferences: D If the card and its driver supports it, the Clock Source pop-up allows you to set an external source to which the audio playback can synchronize its sample rate. Please refer to the documentation that came with your card for details. D The ASIO Control Panel may contain settings specific to your audio card. Please refer to the documentation that came with your card for details. D If you have an audio card with multiple outputs, you can select which output pair you wish ReCycle to use by clicking the Output Channels. button. This item will not be selectable if you use a card with only a regular stereo output.
The Direct Sound driver for a Creative SoundBlaster PCI card selected.
D If the audio hardware doesnt support Direct Sound (i.e. there is no Direct Sound driver for the audio hardware), select the MME driver for the audio hardware. This makes use of Windows Multimedia Extensions, the part of Windows that handles audio, MIDI, etc. Using MME may result in a noticeable latency, causing the audio playback to be slightly delayed. In the case of ReCycle, you would notice this in that playback started slightly after you clicked the Play button, for example. Regardless of which type of audio hardware or drivers you are using, you should follow these basic steps: 1. Make sure you have the latest drivers for the audio hardware! Please check the manufacturers website for the latest versions. 2. Install the audio hardware and its drivers as described in its documentation. 3. Connect the stereo outputs of your audio hardware to your listening equipment (speakers, mixer, headphones or similar). 4. If possible, test that audio plays back properly with the audio hardware. In the case of audio hardware with ASIO drivers, you will need some test application for this (often included with the audio hardware). If you are using DirectX or MME drivers, you can use Windows Media Player application for this.

You can now rename and edit the settings for samplers on the list, as described below.
3. If you know that the sampler is connected and booted, click the Find. button. ReCycle scans the MIDI and/or SCSI connections for a sampler of the selected model. If it finds one, you are asked whether you want to add it to the Sampler List. If you click Yes, the sampler is added to the list with the correct SCSI ID and/or MIDI SysEx ID settings.
Adding a Sampler Manually
You can manually add a sampler to the Sampler List at any time, regardless of whether the sampler is connected or not. This is useful if you want to set up your system before you connect your samplers, or if you have several samplers of the same model connected (since ReCycle only finds one sampler of each model): 1. Click the Add. button at the bottom of the Sampler Settings dialog. The Add Sampler dialog appears.
Please note that ReCycle will only find one sampler of each model if you have more than one sampler of the same model connected, you need to add these by clicking OK instead, and adjust the MIDI/SCSI settings manually in the Sampler Settings dialog, as described on page 32.
4. To add a sampler without finding it, click OK. A sampler of the specified model is added to the Sampler List, with default values for SCSI and/or MIDI settings. You will probably have to change the SCSI and/or MIDI settings manually later.
About the Generic SDS and SMDI Samplers !
Samplers that may be compatible with the Generic SDS/SMDI and Extended SMDI formats cannot be automatically found by ReCycle, nor can the connection be verified! To check if these protocols for transferring samples works with your sampler is a matter of trial and error (see the Sampler and File Format Reference documentation for details).
These are not samplers as such, but rather protocols for transferring samples between two devices. If your sampler model isnt supported by ReCycle you may still be able to transfer audio files using one of the generic sampler formats. SDS stands for Sample Dump Standard, and is a protocol for transfer of sound sample data between devices via MIDI. SMDI stands for SCSI Musical Data Interchange and could be described as SCSI SDS, i.e.the purpose of the SMDI protocol is to use the superior data transfer ability of SCSI to serve the same purpose as SDS.
Common to both protocols is the ability to send samples between any two devices in a commonly recognized format. See the Sampler and File Format Reference online document for details.
D MIDI settings. If the selected sampler uses a MIDI connection, you will find settings for MIDI In/Out ports and SysEx ID. To change these settings, use the respective pop-up menu. D SCSI settings. If the selected sampler uses a SCSI connection, you will find settings for SCSI Bus and SCSI ID. To change these settings, use the respective popup menu.
Adding an Ensoniq Sampler
For technical reasons, Ensoniq (and other sampler models in some cases - see page 30) samplers cannot be automatically found by ReCycle. This means you have to add Ensoniq samplers manually, without finding them (by clicking OK in the Add Sampler dialog as described above), and then adjust the MIDI settings in the Sampler Settings dialog.

D When any of the other alternatives are selected, the files list only shows files in that format.
About The Different File Formats
ReCycle can load mono or stereo files that meet the following criteria: The bit depth can be 8, 16 or 24 bits. Sample rates between 11.025 kHz to 1.0 MHz are supported. The file is not longer than 5 minutes (regardless of sample rate and mono/ stereo status). The table below shows the supported file formats.
| Name | Extension | Comment
If the file is a ReCycle file, the following additional information is displayed: ReCycle RX2/RCY/ REX REX2 (*.rx2) is the native file format created when you save in ReCycle. RCY/REX are ReCycle files that were created with previous versions of ReCycle. The standard Microsoft file format for audio. May be stereo or mono or in formats other than 16-bits. Audio Interchange File Format; Apples standard audio file format. May be stereo or mono or in formats other than 16-bits.

Wave Audio IFF (AIFF)

WAV AIF

Play and Stop buttons

When you click the Play button, the selected file will be played back looped until you press Stop.
In addition, the Macintosh version of ReCycle supports the following format:

Auto Play

If this option is on (ticked), playback will start automatically as soon as a new file selected from the dialog. If a new file is selected during playback, the previous selection will stop and playback of the new selection will start directly.

Sound Designer II

The current Digidesign file format. May be stereo or mono and at least 16 bits.

Using Drag and Drop

ReCycle supports standard Drag and Drop. Proceed as follows: 1. In the Finder/Explorer, locate an audio file in one of the supported file formats. 2. Drag this file and drop it on the ReCycle icon. If the program is already running, the file appears in a new window. If it isnt, ReCycle launches and the file opens.
Receiving Audio from the Sampler
If you have an external sampler connected to the computer, ReCycle can receive the audio directly from it. 1. Make sure the sampler is selected on the lower half of the ReCycle Sampler menu. If the sampler cannot be found on the Sampler menu, you need to go into the Sampler Settings dialog and add the sampler, as described on page 30. 2. Select Receive. from the Sampler menu. A dialog appears. Its exact appearance depends on which sampler you have.

Launching from Files

D Any files created by ReCycle will open in ReCycle if you double click on them. D In addition, (Windows only) you can open WAV or AIF files in ReCycle by right-clicking on them in the Explorer, and selecting Edit with ReCycle from the pop-up menu that appears. If you chose to associate WAV or AIF file formats with ReCycle during the installation, you can open these files in ReCycle by double clicking, just as with ReCycle files.

The selected area will now fill the entire window.
If you click or drag in the horizontal magnification indicator, the amount of horizontal zoom changes. Furthermore, the indicator will always show the current magnification.
The Vertical Magnification Indicator
If you click or drag in the vertical magnification indicator, the amount of vertical zoom changes. The vertical scale is displayed in decibel, and the zoom factor changes in steps of 6 dB. Minimum zoom will show 0 dB as the top and bottom waveform amplitude boundaries in the window, the next factor will show -6, and so on.
Zooming in on a certain area.
Magnifying using the Thumbnail Overview
D The method of making up a rectangle with the [Command] key (MacOS) / [Control] key (Windows), described above, can also be used in the thumbnail overview. This changes the zoom factor of the main waveform, not of the thumbnail itself.

Waveform Display Options

You can customize the look of the Waveform window by using the settings at the bottom of the Preferences dialog:
Zooming in using the thumbnail.
Scrolling using the Thumbnail
When zoomed in on the waveform, the Thumbnail Overview will display a dark rectangular area indicating which part of the waveform is now shown in the main waveform display. This rectangle can be dragged sideways, which scrolls the waveform display. You can also click anywhere in the Thumbnail Overview to move the rectangle to that position.
The View stereo files as sum of L+R Option
Dragging the Thumbnail rectangle.

The Scroll Bar

The scroll bar can be used to scroll the view of the waveform.
To make the size of stereo files in the ReCycle window more compact, the left and right channels of stereo files can be summed to one channel, instead of being stacked on top of each other. Note that this is a display option only, the actual audio material is not affected in any way.

Waveform Look

Use this pop-up menu to select one of three different waveform "looks"; Plain, 3D or Shaded. Plain displays the waveform with normal graphics, 3D adds a depth effect to the graphics and Shaded adds a progressive shade to the lower part of the waveform.

Waveform Color

Click this button to select a new color for the waveform. On the Macintosh, this brings up the standard Apple Color Picker, under Windows this brings up the standard Windows Color dialog. The color field to the right shows you the current color selection.

Contrast Slider

This slider sets the amount of contrast between the background display and the waveform. For maximum contrast, position the slider all the way to the right. Moving the slider to the left progressively adds more of the chosen waveform color to the background display.

5. Turn the Stretch knob fully to the left (0%). 6. Now lower the tempo of the loop down to about 70 bpm and start playback. As you can hear, at this tempo the slices sound chopped off, with a discernible gap of silence between each slice. 7. While still in playback, gradually turn the Stretch knob clockwise until it is set to about 45%. Like magic, the tail (end) portion of each slice is lengthened so that the gaps disappear. The Stretch function actually generates sound. It analyzes the existing tail of each slice, and then lengthens it. This feature is used if you wish to lower the tempo of a loop. D There are two other effect processors which can be applied in Preview mode, Transient Shaper (compressor) and Equalizer. These are described in the Processing Audio chapter.
For all Preview settings, the principle what you hear is what you get applies to the resulting saved or exported file or when transmitted to your sampler!
D Setting Slices And Loops

Using Sensitivity

Most of the time when working with ReCycle, you will want to cut your loop up into slices. A slice is a section of the waveform, from one slice marker to the next.

Using the Hide tool

You might run into situations where there are too many slices on the screen. You could of course reduce the Sensitivity to get rid of the slice markers you dont want, but then other slice markers could disappear too, and this might not be desirable. What you need to do in a situation like this is to Hide an individual slice, and this is just what the Hide Tool lets you do: When you select the Hide Tool and click on a slice marker it gets diminished and its line disappears.

A slice marker

A slice
When you load or receive a loop, ReCycle analyzes it to determine where slice markers should appear (where the individual sounds in the loop are). The Sensitivity slider is then used by you, to set the overall amount of slices. The higher the sensitivity, the more slices you will get. And, the more slices you have, the smaller entities ReCycle will cut the loop into, when you transmit it. For more information, see page 59. The number to the right of the slider represents the current position of the slider, where 0 represents minimum sensitivity and 99 maximum sensitivity. As described below, the quickest way to get a good selection of slices is to set the sensitivity quite high, roughly between 70 - 80, and then use the Hide Tool to deactivate any slices you dont need (see later in this chapter for details on the Hide Tool).

The vertical line snaps to zero crossings.
4. When you have found the correct position, click with the Pencil tool. The slice appears. The following rules apply to manually added slices: Manually added slices are locked. They will therefore not disappear when you lower Sensitivity. If you unlock a manually added slice and drag the sensitivity slider down lower than halfway (below 50), it will disappear, just as other slices.
Before and after using Invert Selection
D To deselect all markers, click between two markers on the ruler.
Adding a Slice at any position
D If you hold down [Option] (MacOS) / [Alt] (Windows), the snap to zero crossing is disabled and you can add a slice at any position. We do not recommend that you do this unless you have very good reason, since it can introduce clicks and pops in the sound during playback.
Where do I place the Slice?
Zoom in far enough for the display to clearly show how the cursor jumps between zero crossings. Try to find the first position before the beginning of the sound. This applies both when adding and moving slices.

Moving a slice marker

You can move a slice marker manually, even if it is locked (hidden slice markers cannot be moved). 1. Make sure the Arrow or Pencil Tool is selected. 2. Select the existing slice marker that you wish to move. D Place it in the proximity where you want to move it to by dragging the slice marker. As you drag, the vertical line of the slice marker is superimposed across the waveform. This line indicates where the slice will be placed when you release the mouse button. 3. After having placed the slice marker in the general area where you would like to move the slice to, zoom in on it very closely and move the slice marker to where you want it. The line snaps to zero crossings in the waveform (positions where the amplitude is close to zero) exactly like when adding slices, so manually moved slices wont introduce any clicks or pops. If the amplitude is zero for a period of time, the line will move continuously over this area. 4. When you have found the correct position, release the mouse button.

Deleting Slices

It is possible to permanently delete slice markers. Note that unless you are 100% certain that you wont need a slice, especially in case of slices detected by the slicing algorithm, it is generally better practice to hide it using the Hide Tool. D To delete one or more slice markers, select it/them and press [Backspace] or [Delete], or select Delete from the Edit menu.
Deleted slices that were originally discovered by the slicing algorithm can be made to appear again by using Re-Analyze (see page 66).
Only one slice marker at a time can be moved.
Moving a slice marker to any position
D If you hold down [Option] (MacOS) / [Alt] (Windows), the snap to zero crossing is disabled and you can move a slice to any position. We do not recommend that you do this unless you have very good reason, since it can introduce clicks and pops in the sound during playback.

Crop Loop

D Crop Loop allows you to trim files, by removing all audio data outside the left and right locators. If you have set up a perfect loop with the locators, and the file contains audio outside this locator range you can use Crop Loop to remove this superfluous data.
Additional Processing Items
There are a number of additional real-time processing items available on the Toolbar (Preview mode must be activated):

Remove DC

This function will remove any DC offset in the audio. DC offset is when there is too large a DC (direct current) component in the signal, sometimes visible as the signal not being visually centered around the zero level axis. DC offset can introduce clicks if the slices are later moved around in a sequencer, and it also affects zero crossing detection (see page 57) and certain processing functions such as Re-Analyze and Normalize.
This function allows you to change the gain (volume) of the loop. The applied gain change will be present when the loop is saved/transmitted/exported. The main use of this function is to compensate for possible clipping or level changes introduced by other processing items, like equalization for example. D You can boost the gain by up to 18 dB, or lower it down to silence (-80 dB). You should avoid boosting the signal to the extent that the Level Meter clip indicators light up often. If they momentarily light up once, you should listen carefully to see if it sounds o.k (a slight amount of clipping on percussive material is not necessarily even noticeable). The final judge should always be your ears!

Re-Analyze

Re-Analyze re-runs the slice-detection algorithm on the waveform data. You may have deleted slices that were detected when the file was first sliced. This command will re-discover those slices. D Re-Analyze will add all slices that lies on a position in the file not already occupied by a slice. Note that the added slices may not be visible, as this depends on the Sensitivity setting!
Gate Sensitivity could be described as a type of noise gate. It is triggered (opened) by every active slice start, and closes for any material (in each slice) that falls below a set threshold. When you set the Gate Sensitivity so that the end part of the slice(s) fall below the threshold, the gated part of the waveform will be greyed out. The gated out material is not transmitted or exported. This function has three primary uses: D It can be used to remove part of a file that contains silence, for example in conjunction with Silence Selected (see page 71). By removing silent data, the size of the transmitted/exported data is reduced. D It can be used if you have a file with several individual sounds containing air in between the sounds, and want to save each one as a separate file. Used together with the slice algorithm, this also keeps the size of the transmitted/exported data down, and saves you from having to trim the files in your sampler. D It can be used for special effects - abruptly chopping off a reverb tail for example.

Status Bar shows inherent rate
When you Open or Receive a sample, its inherent sample rate is displayed in the Status Bar at the bottom of the ReCycle application window (Windows) or at the bottom of the screen (MacOS).
A sample recorded at 44.1 kHz.

Available rates

In the transmit dialog, a number of sample rates can be selected from a pop-up. Exactly what options are available depends on the selected sampler. D If possible, the samples inherent rate is suggested. If, for example, the sample was recorded at 48 kHz, this will be the suggested sample rate in the Transmit dialog. D If the samples inherent rate is not supported by the sampler, the next higher rate is suggested. D In addition to the above, a number of other sample rates can be selected from the pop-up in the Transmit dialog. If the sampler only handles a few sample rates, they can all be selected. If the sampler supports many rates, the most commonly used ones (or the ones closest to these) are available. Those most common rates are 11.025 kHz, 22.05 kHz, 32 kHz, 44.1 kHz and 48 kHz.
When is sample rate conversion performed?
If you transmit, and the sample rate set in the Transmit dialog is not the same as shown on the Status Bar (the samples inherent rate), a sample rate conversion will be performed during the transmission.
4. Transmit/Export the Program. A new Program is created in the sampler. It will get all the settings of the Template. The first slice will appear on the same key as where the first sample in the Template was.
If you use exactly the same name as the Template, the new Program may replace the Template.

Transmit

This button creates a Program and samples for it as described above, without creating any MIDI File.

MIDI File + Transmit

This button will make two things happen: D Programs and samples are created as described above. D A file dialog appears, which allows you to create a MIDI File on your computers disk. This resulting file should be used in your sequencer, to play the loop in the sampler.

D Saving and Exporting

Saving ReCycle Documents
If you have opened an audio file and worked on the slices and other settings, you can save it as a ReCycle (REX2) document. D Saving is done using the regular Save and Save As commands. D ReCycle files can be opened just like regular audio files (see page 36). One difference is that no analysis needs to be performed, since the analysis data is already included in the file. D ReCycle files have the extension.rx2. D The ReCycle document will include all settings made in Preview mode as well as the actual audio data. These include: All the slice points and their status (locked, hidden etc.). All real-time processing features, like tempo, pitch settings, Stretch amount etc. Any applied offline processing like Normalize etc.

The above options are not available for Standard MIDI files or Mixman TRK files. Also, the SampleCell format has additional options (see table).
Using REX2 files in Cubase VST
To ReCycle a file for use in Steinberg Cubase VST (version 5.0 or later) or other programs capable of reading REX2 files, proceed as follows:
There are a number of additional factors to be aware of when using REX2 files in Cubase VST. See the Cubase manual for details!

Exporting MIDI Files

There are threet ways to create MIDI Files with ReCycle: D By selecting MIDI file+Transmit in the Transmit dialog. D By selecting Export from the File menu and then selecting Standard MIDI File as the File Format in the dialog. This is used if you wish to create a groove template. D By selecting Export from the File menu and then ticking the Export MIDI File with Same Name option in the Export Settings dialog.
This text describes how to use REX2 files with Cubase VST. If you are using another REX2-compatible program, see its documentation for details.
1. Locate the file on disk and open it in ReCycle. This can be a file recorded in Cubase, or a file of any other origin. 2. Set up the slices, length, time signature, and use Preview mode to apply effects or change tempo or pitch, as desired. Remember that what you hear is what you get in the resulting REX2 file when using Preview mode.
Normally you will create MIDI Files as a part of the transmission process (by clicking MIDI File+Transmit in the Transmit dialog). But if you only want to create a MIDI File (for example when using ReCycle to create groove maps), use the Export dialog and save as a Standard MIDI File. In either case you are prompted with a regular File dialog where you can specify a name and location for the file. ReCycle always creates MIDI Files of type 1. However, they only contain one Track plus a Tempo Track.

Templates and MIDI Files

If you create a MIDI File from the Transmit dialog, the position of the first sample in the Template affects the transposition of the MIDI File (so that the file plays the right samples). If you use Export Standard MIDI File the first note is always C1.
Transmit As One Sample and MIDI Files
If Transmit As One Sample is turned off, the MIDI File will contain a number of short events, each triggering a slice in the sampler, to recreate the loop. This is the mode to use if you want to create a groove map. If Transmit As One Sample is turned on, there will only be one long event which triggers the entire sample.
Silence Selected and MIDI Files
Silence Selected only affects the MIDI File if Transmit As One Sample is turned off, as described on page 71.

D Example Applications

Quantizing Audio

If you have sliced a groove or other recording, you can apply quantizing to it in the sequencer, if you like.
When Transmitting, always use at least a small amount of Stretch, to avoid the gaps between slices that might otherwise occur.
Please note that if you have two REX2 loops in Reason, applying the timing of one of them to the other is really easy. Use the To Track function in Dr. Rex for one of the loops, and select the resultant MIDI notes in the sequencer. Now select Get User Groove on the Edit menu. Now you can quantize the other loops MIDI note data using the User Groove (see the Reason manual for details). If you dont like what you get, Undo the Quantize, and try the other way around, for example.

Extracting Sounds

This can be used to extract single sounds (snares, hi-hats etc.) from a loop or other recording. It can also be very useful if you have recorded more than one drum loop into a file and want to save each one as a separate file. 1. Open or Receive the sample. 2. Raise the Sensitivity Slider until the desired number of slices appears. 3. Set Bars to any value but zero. 4. Click the Preview Toggle button to enter Preview mode. 5. Work on the slices with the Hide and Lock tools until you get the sounds you want when you audition. In the case of the multi-loop file outlined above, this would mean one slice per loop. 6. Set the Loop point to enclose the first and last sound you want from the audio file. This might mean unwanted sounds are transmitted, but these can always be deleted in the sampler. Or you can use Silence Selected to prevent some slices from being sent. D Also in the case of the multiple loop or Silence Selected scenario, you could use the Gate Sensitivity parameter to prevent silent passages from being transmitted. See page 67. 7. Select your Sampler from the Sampler menu and select Transmit. The slices get transmitted. Alternatively, you can use Export Sound to save each slice as a file in a format of your choice.
Using Loops with unusual length or cutting
Sometimes you dont have a full bar of a loop. Set up the loop and the Bars and Beats fields for as much as you have. Then slice the loop. Finally, use your sequencers editing capabilities, on the MIDI notes, to recreate the missing parts. You will also encounter situations where the best loop doesnt really start on a downbeat. It might for example happen that you get the best loop when you position the Left and Right Locator on the last quarter note of two consecutive measures. If this happens, you can fix it in your sequencer, by cutting the last quarter note of the MIDI Part and pasting it in at the beginning, to position the downbeat correctly. If you dont want to slice the loop completely, at least allow a slice at the downbeat (the Lock tool is ideal for this). Then, repositioning that last quarter note to the beginning of the loop will be very easy.

D Index

Acrobat Reader 10, 16 Add Sampler 31 AIFF files 37, 77 Arrow Tool 43, 57 Audio Buffer Size 20 Audio Card Driver 19 Audio Playback Loop 50 Memory for 36 Open dialog 37 Setting up 11 Slices 50 Auditioning Audio files 37 Auditioning Slices 50 Auto Play 37
Effects Activating 62 Envelope 63 Equalizer 64 Opening Effect Panels 62 Presets 62 Transient Shaper 64 Export Groove MIDI File 78 Export to ReCycle REX file 78 Extracting Sounds 86
File Formats 37 Info 37 Opening 36, 38 Saving 76 Find 31 Find All 30
Bars 60 Beats 60 Buffer Size 20
Gain 66 Gate Sensitivity 67 Grooves 85
Color 45 Contacts 14, 21 Contrast Slider 45 Copy to Clipboard 13, 22 Copyright 6 Crop Loop 66 Cubase VST 78
Help Contents 20 Hide Tool 43, 54

Internet 14, 21

Drag and Drop 38
Lightning icon 71 Locators 59 Lock Tool 43, 56 Loop 59
Magnification 44 Magnify To Fit 46 Memory Allocating 14 And Sounds 36 Fragmentation of 36 Transmit and Export 70 MIDI Connection (Macintosh) 11 MIDI Connection (Win) 17 MIDI Files Exporting Groove 78 Transmitting/Exporting 73
RCY files 37 Re-Analyze 66 Receive sample 38 ReCycle Documents 37 ReCycle Export file 78 REX file 78
Sample Rate Transmit 72 Window title 43 Sampler Adding Automatically 30 Adding Manually 31 Deleting from list 33 Information 32 Selecting 70 Setting Up 11, 17 Verifying connection 32 Sampler List Adding Samplers to 30 Editing 32 Viewing 30 Sampler Settings dialog 30 Save/Save As 76 SCSI Installing (Win) 17 Settings 32 Verifying Connection (Win) 17 Selecting 57 Sensitivity slider 54 Sign 60 Silence Selected 71, 84 Slice Audition buttons 50

Normalize 65, 82

Open 36
Pencil Tool 43, 57 Pitch 67 Play Loop 50 Open dialog 37 Slices 50 Preferences View stereo files as sum of L+R 45 Preview mode 51 Preview Pitch 67 Preview Tempo 67 Processing Crop Loop 66 Gain 66 Normalize 65 Pitch 67 Re-Analyze 66
Slices Adding & Moving Manually 57 Adding using Sensitivity 54 Auditioning 50 Hiding 54 Locking 56 Selecting 57 Song Position 44 Sound Designer II 37 Sound Manager Audio 12 Speaker tool 50 Status Bar 43 Stretch 63 Support 14, 21 System Information 13, 21
Wave files 37, 77 Waveform Display Options 45 Window title 43
Zero Crossings 57 Zooming 44
Templates 72 Tempo 67 Calculated 60 Changes, Slicing for 83 Thumbnail Scrolling 45 Setting Magnification 45 Time Signature 60 Toolbox 43 Transmit As One Sample 70 Transmit button 71 Transmitting Memory for 70 Sample rate 72 Templates 72

Source Formats (36)
Hardware Samplers Akai S-1000/3000 Series Akai S-5000 and Z-Series Akai MPC Series Roland S-7x Series Roland MV-8000 Roland S-50/550/S-330/W30 Emu E3 and ESi Series Emu EOS (Emulator E4 Series) Kurzweil K-2000 Series Ensoniq EPS/ASR-10 Synclavier (Hi-Tech Edition only) Fairlight (Hi-Tech Edition only) WaveFrame (Hi-Tech Edition only) Software Samplers Native Instruments Kontakt 1, 2, 3 (including monolith) Tascam GigaStudio (all versions) Emagic EXS-24 Mk I and Mrk II Steinberg HALion 1 and 2 Digidesign Structure Emu EmulatorX/ProteusX (1, 1.5, and 2) MOTU MachFive Propellerheads Reason NN-XT + Combinator Cakewalk SFZ VemberAudio ShortCircuit WusikStation Native Instruments Battery 1, 2, 3 Native Instruments Reaktor Bitheadz Unity DS-1 SampleCell (PC and Mac) Propellerheads Recycle 1 and 2 Apple Loops Sonic Foundry ACID Beat Creator SoundFont Steinberg LM-4 mk I and mrk II Creamware Pulsar/STS Akai MESA KeyToSound Nexsyn WusikStation WAV-AIFF-MPC.snd-Triton.ksf Audio CD's

Destination Formats (40)

Software Samplers Native Instruments Kontakt 1, 2, 3 Yellow Tools Independence 1, 2 Tascam GigaStudio 1, 2, 3 Emagic EXS-24 Mark I & Mark II Steinberg HALion I and II MOTU MachFive 1, 2 IK Multimeda Sampletank 1, 2 Emu EmulatorX/ProteusX 1, 2 Propellerheads Reason NN-XT + Combinator 2, 3, 4 Digidesign Structure Cakewalk SFZ ShortCircuit 1 SoundFont Native Instruments Reaktor Native Instruments Battery 1, 2, 3 Steinberg LM-4 mk I and mrk II Creamware Pulsar/STS Series Akai MESA Seer Systems Reality (src: Akai & Ensoniq) WusikStation Recycle 1 Recycle 2 (slice points only) Apple Loops Sonic Foundary ACID Stylus RMX Beat Creator WAV-AIFF-MPC.snd-Triton.ksf MP3 files
Hardware Samplers Alesis Fusion Akai S-1000/3000 Series Akai S-5000 and Z-Series Akai MPC Series Roland S-7x Series Emulator EOS (Emulator E4 Series) Emu ESi Series Korg Triton Series Yamaha Motif Series Roland XV-5080 Roland Fantom Series Roland MV-8000 Ensoniq EPS/ASR-10 Ensoniq ASR-X

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