User Manual

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Table Of Contents

Table of Contents
Introduction
- Welcome!
- About this chapter
- About this manual
- About the Record operating system versions
- Conventions in the manual
- Authorization and the Ignition Key
- Running Record in combination with Reason
- Reassigning the Function Keys in Mac OS X
Common Operations and Concepts
- About this chapter
- Areas, windows and basic navigation
- General window techniques
- Editing parameters
- Tool Tips
- Context menus
- Undo and Redo
  - About multiple Undos and Redos
On-screen Piano Keys
- About this chapter
- Using the On-screen Piano Keys
Audio Basics
- About this chapter
- How Record communicates with your audio hardware
- System signal paths
  - Audio Track signal paths
  - Instrument Track signal paths
- General information about audio and computers
- Mac specific information
  - About using the built-in audio inputs and outputs
Sequencer Functions
- About this chapter
- Introduction
- Sequencer area overview
- Track details
- Lane details
- Clip basics
  - Clip types
- Toolbar details
- Ruler details
- Transport Panel details
- About the Inspector
  - About subticks in the Position and Length displays
  - About the “Match Values” function
Recording in the Sequencer
- About this chapter
- General recording functions
- Audio recording details
- Note recording details
- Parameter automation recording details
- Pattern automation recording details (Record+Reason)
  - Recording pattern automation (Record+Reason)
- Tempo automation recording
  - Recording tempo automation
Arranging in the Sequencer
- About this chapter
- Clip handling
- Inserting bars
- Removing bars
  - About removing bars that contain audio recordings
Audio Editing in the Sequencer
- About this chapter
- The Edit Mode
- Audio editing tools
  - Razor (Cut) Tool
  - Speaker Tool
- Editing audio clips
- Editing audio in Comp Mode
- Audio and tempo matching
  - Matching an imported audio clip to the song tempo
  - Moving a snare hit
- Editing audio using the Inspector
  - Editing recordings and cuts in the Inspector
    - Editing multiple recordings or multiple cuts in the Inspector
  - Matching audio values using the "Match Values" function
Note and Automation Editing
- About this chapter
- The Edit Mode
- Tool Window editing tools
- Note editing
- Automation editing
- Note and automation editing in the Inspector
  - Editing notes and events in the Inspector
    - Editing values for multiple notes or events in the Inspector
  - Matching notes or events using the “Match Values” function
    - Matching notes
    - Matching parameter automation events
Working with Blocks in the Sequencer
- About this chapter
- Introduction
  - The idea behind Blocks
- Arrangement Views
- Editing Blocks in the Block View
- Arranging Blocks in the Song View
Working with the Rack
- About this chapter
- Rack device procedures
Sounds and Patches
- About this chapter
- About patches
- About ReFills
- Using the Browser
Routing Audio and CV
- About this chapter
- Signal types
- About cables
- Automatic routing
- Manual routing
- Using CV and Gate
  - Routing CV and Gate signals
  - About CV Trim knobs
The Main Mixer
- About this chapter
- Overview
- Navigating in the Main Mixer
- Managing mixer channels
- The channel strip
- The Master Section strip
- Automating mixer parameters
- Working with effects
  - Insert FX
  - Send FX
- Remote controlling the Main Mixer
  - Remote controlling a single mixer channel
  - Remote controlling multiple mixer channels
    - Setting the Remote Base Channel
    - Remote controlling multiple mixer channels - an example
- Advanced routing tips and tricks
Song File Handling
- About this chapter
- Opening Songs
- Closing Songs
  - Closing a Song
- Creating Songs
- Saving Songs
- Audio data and Scratch Disk settings
- Importing and exporting Standard MIDI Files
  - Importing Standard MIDI Files
  - Exporting Standard MIDI Files
Importing and Exporting Audio
- About this chapter
- Importing audio
- Exporting audio
Sampling (Record+Reason)
- About this chapter
- Overview
- General sampling functions
  - Setting up for sampling
- Sampling
- Editing samples
- Sample management
The ReGroove Mixer
- Introduction
  - ReGroove basics
- The ReGroove Mixer
- Groove Settings
- Working with grooves
- Groovy tips & tricks
- ReGroove patches in the Record Sound Bank
Remote - Playing and Controlling Devices
- About the various MIDI inputs
- About Remote
- Setting up
- Remote basics
  - About Standard vs Remote Override mapping
  - About mapping variations
- Locking a surface to a device
  - Locking a surface
    - Using the Surface Locking dialog
    - Using the context menu
  - Unlocking a surface
- Remote Override
  - Activating Remote Override Edit mode
  - Remote Override mapping
- Additional Remote Overrides...
- Keyboard Control
  - Enabling Keyboard Control
  - Editing Keyboard Control
    - About the two Edit Keyboard Control Modes
- Saving Remote Setups
ReWire
- About this chapter
- Why use Record with ReWire?
- Introducing ReWire!
  - In ReWire version 1
  - In ReWire 2
- How does it work?
- Launching and quitting applications
- Using the Transport and Tempo controls
- Routing audio
  - Preparations in Record
  - Routing in the ReWire host application
- Routing MIDI via ReWire 2
- Converting ReWire channels to audio tracks
- Details about various ReWire hosts
Synchronization and Advanced MIDI
- About this chapter
- Synchronization to MIDI Clock
- Advanced MIDI - The External Control Bus inputs
Optimizing Performance
- Introduction
  - Checking Processing Power
- Optimization and Latency reduction
- Optimizing your computer system
- Optimizing Songs
- RAM requirements
Record Hardware Interface
- Introduction
  - About using ReWire
- Sampling Input section (Record+Reason)
- Advanced MIDI Device
- More Audio
- The Big Meter
The Combinator
- Introduction
  - About the Combi patch format
- Creating Combinator devices
- Combinator elements
- About internal and external connections
- Adding devices to a Combi
- Combi handling
- Sequencer tracks and playing Combis
- The Controller panel
- Using the Programmer
Mixer 14:2
- Introduction
- The Channel Strip
  - Channel Strip Controls
- The Mixer signal flow
- About the EQ modes
- The Auxiliary Return Section
- The Master Fader
- Connections
- Chaining several Mixer 14:2 devices
  - Partially or Non-Chained Mixers
The Line Mixer 6:2
- Introduction
- Channel parameters
- The Auxiliary Return section
- Master level
- Connections
ID8 Instrument Device
- Introduction
  - The Sounds
  - The ID8 and Standard MIDI Files
- Using the ID8
Subtractor Synthesizer (Record+Reason)
- Introduction
  - Loading and Saving Patches
- The Oscillator Section
- The Filter Section
- Envelopes - General
- LFO Section
  - LFO 1 Parameters
  - LFO 2 Parameters
- Play Parameters
- External Modulation
- Connections
Thor Polysonic Synthesizer (Record+Reason)
- Introduction
  - About basic synthesizer terminology
  - Loading and Saving Patches
- Thor elements
- The Controller panel
- Using the Programmer
- Modulation bus routing section
- Step Sequencer
  - Basic operation
- Connections
Malström Synthesizer (Record+Reason)
- Introduction
- The Oscillator section
- The Modulator section
  - Modulator parameters
  - Destinations
    - Mod:A
    - Mod:B
- The Filter section
- Routing
  - Routing examples
  - The output controls
    - Volume
    - Spread
- The play controls
- Connections
- Routing external audio to the filters
  - Connecting an external signal source
  - Connecting the signals from the Malström itself
NN-19 Sampler (Record+Reason)
- Introduction
- General sampling principles
  - Background
  - Multisampling vs. single samples
- About audio file formats
- Sampling in NN-19
- About Key Zones and samples
- Automap Samples
  - Mapping samples without Root Key or Tuning information
  - How Mapping Information is saved
- NN-19 synth parameters
- Play Parameters
- Connections
NN-XT Sampler (Record+Reason)
- Introduction
- Sampling in NN-XT
- Panel overview
  - The main panel
  - The Remote Editor panel
- Loading complete Patches and REX files
  - Loading NN-XT Patches
  - Loading NN-19 Patches
  - Loading SoundFonts
  - Loading complete REX files as Patches
- Using the main panel
  - The Pitch and Modulation wheels
  - The External Control wheel
    - Receiving MIDI controller messages from external sources
    - Recording MIDI controller messages with the wheel
  - High Quality Interpolation
  - Global Controls
- Overview of the Remote Editor panel
  - The Key Map display
  - Sample parameters
  - Group parameters
  - Synth Parameters
- About Samples and Zones
- Selections and Edit Focus
  - Selecting Zones
    - Selecting zones via MIDI
    - Selecting All Zones in a Group
  - Moving Edit Focus
    - Moving Edit Focus
- Adjusting parameters
  - Adjusting Synth parameters
  - Adjusting Group parameters
    - About “Conflicting” parameters
  - Sample parameters
    - Copying parameters between zones
- Managing Zones and Samples
  - Creating a Key Map
    - Setting Root Notes and Key Ranges
  - About file formats and REX slices
  - Adding more samples to the Key Map
  - Replacing a sample
  - Quick browsing through samples
  - Removing samples
  - Auditioning samples
  - Adding empty Zones
  - Duplicating Zones
    - Using Copy and Paste
  - Removing Zones
  - Rearranging Zones in the List
- Working with Grouping
  - About Groups
  - Creating a Group
  - Moving a Group to another position in the List
  - Moving a Zone from one Group to another
  - Selecting a Group and/or Zones in a Group
  - The Group Parameters
- Working with Key Ranges
  - About Key Ranges
  - Setting up Key Ranges
  - About the Lock Root Keys function
  - About the Solo Sample function
  - Sorting Zones by Note
- Setting Root Notes and Tuning
  - About the Root Key
  - Setting the Root Note manually
  - Tuning samples manually
  - Setting the Root Note and Tuning using pitch detection
  - About changing the pitch of samples
- Using Automap
  - Automapping zones chromatically
- Layered, crossfaded and velocity switched sounds
  - Creating layered sounds
  - About velocity ranges
  - Setting velocity range for a Zone
  - About Crossfading Between Zones
    - Crossfading Between two Sounds
  - Setting crossfading for a Zone
    - Manually
    - Automatically
- Using Alternate
  - About the Alternate function
- Sample parameters
  - Root Note and Tune
  - Sample Start and End
  - Loop Start and End
  - Play Mode
  - Lo Key and Hi Key
  - Lo Vel and Hi Vel
  - Fade In and Fade Out
  - Alt
  - Out
    - A Stereo example
    - Using a stereo output as two mono outputs
- Group parameters
  - Key Poly
    - The Group Mono button
  - Legato and Retrig
    - Legato
    - Retrig
  - LFO 1 Rate
  - Portamento
- Synth parameters
  - The Modulation controls
  - The Velocity controls
  - The Pitch section
  - The Filter section
    - Filter mode
    - Filter controls
  - The Modulation Envelope
    - Parameters
    - Destinations
  - The Amplitude Envelope
    - Parameters
  - The LFOs
- Connections
  - Sequencer Control
  - Modulation Input
  - Gate Input
  - Audio Output
Dr. Octo Rex Loop Player (Record+Reason)
- Introduction
  - ReCycled Loops
- About REX file formats
- Loading and saving Dr. Octo Rex patches
  - About the Dr. Octo Rex patch format
  - About opening songs that previously used Dr. Rex devices
- Playing Loops
  - Switching playback between Loop Slots
- Adding Loops
- Playing individual Loop Slices
- Creating sequencer notes
- Slice handling
- Dr. Octo Rex panel parameters
- Dr. Octo Rex synth parameters
- Connections
Redrum Drum Computer (Record+Reason)
- Introduction
- Sampling in Redrum
- About file formats
  - Redrum Patches
  - Drum Samples
- Using patches
- Programming patterns
- Redrum parameters
  - Drum sound settings
  - Global settings
- Using Redrum as a sound module
- Connections
  - For each drum sound channel:
  - Other
Kong Drum Designer (Record+Reason)
- Introduction
- Overview
- About file formats
- Using patches
- Pad Settings
- The Drum and FX section
- The Drum modules
- The Support Generator modules
  - Noise Generator
  - Tone Generator
- The FX modules
- Connections
- Using Kong as an effect device
- Using external effects with Kong
The MClass Effects
- The MClass effects
  - Common effect device parameters
  - The MClass Mastering Suite Combi
    - Connections
- The MClass Equalizer
- The MClass Stereo Imager
  - Parameters
  - Connections
- The MClass Compressor
- The MClass Maximizer
  - Parameters
Line 6 Amps
- Introduction
- Using the Line 6 Amps
RV7000 Advanced Reverb
- The RV7000 Advanced Reverb
Scream 4 Sound Destruction Unit
- Scream 4 Sound Destruction Unit
BV512 Vocoder (Record+Reason)
- Introduction
  - How does a vocoder work?
- Setting up for basic vocoding
  - Vocoding vocals in real-time
    - Recording the vocoded audio
  - Vocoding an existing audio track
- Using the BV512 as an equalizer
  - Setting up
  - In use
- BV512 parameters
- Connections
- Automation
- Tips and tricks
Neptune Pitch Adjuster and Voice Synth
- Introduction
  - Typical use cases
- Overview and basic concepts
  - Sections overview
  - The display
- Setting up for pitch processing
  - Setting up for pitch processing of recorded audio tracks
  - Setting up for pitch processing of “live” audio
- Using pitch correction
- Using pitch shifting (Transpose)
- Using Formant control
  - What are formants?
  - Using the Formant function
- Using the Voice Synth
- Panel parameters
- Connections
- Pitch adjustment tips and tricks
Half-Rack Effects
- Common effect device features
- DDL-1 Digital Delay Line
- CF-101 Chorus/Flanger
- Spider Audio Merger & Splitter
- Spider CV Merger & Splitter
- RV-7 Digital Reverb (Record+Reason)
  - Parameters
  - CV Inputs
- D-11 Foldback Distortion (Record+Reason)
  - Parameters
  - CV Inputs
- ECF-42 Envelope Controlled Filter (Record+Reason)
- PH-90 Phaser (Record+Reason)
- UN-16 Unison (Record+Reason)
  - Parameters
  - CV Input
- COMP-01 Auto Make-up Gain Compressor (Record+Reason)
  - Parameters
- PEQ-2 Two Band Parametric EQ (Record+Reason)
Matrix Pattern Sequencer (Record+Reason)
- Introduction
  - About the three Output types
- Programming patterns
- Example usage
RPG-8 Arpeggiator (Record+Reason)
- Introduction
- Using the RPG-8
- RPG-8 Parameters
- CV connections
  - CV Inputs
  - CV Outputs
- Tips and tricks
ReBirth Input Machine (Windows Only)
- Introduction
- Preparations
  - Launching
  - Quitting
- Routing
  - What signals are on the Outputs?
    - Mix-L and Mix-R
  - About recording the ReBirth on audio tracks
Menu and Dialog Reference
- Record menu (Mac OS X)
- File menu
- Edit menu
- Create menu
- Options menu
- Window menu (Windows version)
- Window menu (Mac OS X version)
- Help menu
Index

DR. OCTO REX LOOP PLAYER

(RECORD+REASON)

711

The Filter Section

Filters are used for shaping the overall timbre of all REX files in all 8 Loop Slots. The filter in Dr. Octo Rex is a multi-

mode filter with five filter modes.

D Activate or deactivate the filter completely by clicking the Filter On button.

The filter is active when the button is lit.

Mode

With this selector you can set the filter to operate as one of five different types of filter. These are as follows:

•Notch

A notch filter (or band reject filter) could be described as the opposite of a bandpass filter. It cuts off frequencies

in a narrow midrange band, letting the frequencies below and above through.

• High-Pass (HP12)

A highpass filter is the opposite of a lowpass filter, cutting out lower frequencies and letting high frequencies pass.

The HP filter slope has a 12 dB/Octave roll-off.

• Bandpass (BP 12)

A bandpass filter cuts both high and low frequencies, while midrange frequencies are not affected. Each slope in

this filter type has a 12 dB/Octave roll-off.

• 12 dB Lowpass (LP 12)

This type of lowpass filter is also widely used in classic analog synthesizers (Oberheim, early Korg synths, etc.). It

has a gentler slope (12 dB/Octave), leaving more of the harmonics in the filtered sound compared to the LP 24 fil-

ter.

• 24 dB Lowpass (LP 24)

Lowpass filters lets low frequencies pass and cuts out the high frequencies. This filter type has a fairly steep roll-

off curve (24dB/Octave). Many classic synthesizers (Minimoog/Prophet 5 etc.) used this filter type.

Filter Frequency

The Filter Frequency parameter (often referred to as “cutoff”) determines which area of the frequency spectrum the

filter will operate in. For a lowpass filter, the frequency parameter could be described as governing the “opening” and

“closing” of the filter. If the Filter Freq is set to zero, none or only the very lowest frequencies are heard, if set to max-

imum, all frequencies in the waveform are heard. Gradually changing the Filter Frequency produces the classic syn-

thesizer filter “sweep” sound.

! Note that the Filter Frequency parameter is usually controlled by the Filter Envelope (see “Filter Envelope”) as

well. Changing the Filter Frequency with the Freq slider may therefore not produce the expected result.