Replicant User’s Guide Audio Damage, Inc. Release 1.
The information in this document is subject to change without notice and does not represent a commitment on the part of Audio Damage, Inc. The software described by this document is subject to a License Agreement and may not be copied to other media except 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 Audio Damage, Inc. © 2007, 2010 Audio Damage, Inc.
Credits Software Design and Construction, Documentation Chris Randall Adam Schabtach Field Testing Jens Ågren Wade Alin Chad Beckwith Tom Freeman Steve Hamann Anu Kirk Henry Stamerjohann Made Possible By Elle Tracie Fuzzy Logic Alfred Chica Edwin Garrus Madeline Pablo Tali Zed Gone but not forgotten: Alex, Fatty, Widget Audio Unit version implemented using Symbiosis from NuEdge Development.
License Agreement BY INSTALLING THE SOFTWARE, YOU ARE CONSENTING TO BE BOUND BY THIS AGREEMENT. IF YOU DO NOT AGREE TO ALL OF THE TERMS OF THIS AGREEMENT, THEN RETURN THE PRODUCT TO THE PLACE OF PURCHASE FOR A FULL REFUND. Single User License Grant: Audio Damage, Inc.
been subjected to abnormal physical or electrical stress, misuse, negligence, or accident, or (d) is used in ultrahazardous activities. DISCLAIMER. EXCEPT AS SPECIFIED IN THIS WARRANTY, ALL EXPRESS OR IMPLIED CONDITIONS, REPRESENTATIONS, AND WARRANTIES INCLUDING, WITHOUT LIMITATION, ANY IMPLIED WARRANTY OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT OR ARISING FROM A COURSE OF DEALING, USAGE, OR TRADE PRACTICE, ARE HEREBY EXCLUDED TO THE EXTENT ALLOWED BY APPLICABLE LAW.
Introduction Thank you for purchasing Audio Damage‟s Replicant, our delay-based plug-in for slicing, dicing, and looping your drum loops and other rhythmic audio. Replicant creates everything from simple delay and panning effects to stutters, automated filter sweeps and unpredictable random audio mangling. You‟re probably much more interested in playing with Replicant than reading about it, but there are some subtleties of its operation which bear written explanation.
Installation Double-click the Replicant Installer icon, and follow the instructions. During the installation process the installer will ask you to enter your registration code. Your registration code uniquely identifies your purchase, and you will need it if you need to reinstall your plug-in (for example, after upgrading to a new computer). Keep a copy of the code in a safe location and please don‟t share it with your friends.
Operation Replicant is essentially a tempo-based delay effect. The primary feature that distinguishes Replicant from standard delays is its notion of beat triggers, or simply triggers. Replicant divides each measure into 16 slices; each slice has a trigger. If a slice‟s trigger fires, Replicant loops and repeats some amount of audio of that slice. (In contrast, a standard delay loops and repeats all of the audio which passes through it.
Controls 1. The Big Dial The large, circular object at the center of Replicant‟s window contains several controls and indicators which affect how Replicant decides to repeat some portion of the incoming audio, relative to the beginning of each measure. Trigger Ring The outermost ring in the dial is the trigger ring.
The trigger ring represents one measure of music, so each section represents a 16th note beat. The topmost right-hand section corresponds to the beginning of the measure. A small indicator inside the ring revolves in sync with your host program‟s transport. Replicant doesn‟t do anything if your host program‟s transport isn‟t playing or recording, so this indicator doesn‟t move unless your host is playing or recording.
Length Controls The LENGTH numerical controls the length of the audio segments that Replicant repeats. Clicking and dragging upwards on the numerical increases the length of the segments. The segment length can range from 1/128th of a measure to a full measure. Dotted values are denoted by the letter „D‟. If the TRIPLETS switch next to the LENGTH numerical is turned on, then Replicant can choose segment lengths in triplet time values.
If the RETRIG button is engaged, Replicant stops playing the repeated audio it is currently playing and begins playing and repeating the newly selected beat. If the IGNORE button is engaged, Replicant ignores the new beat trigger and continues playing the audio it is repeating. Whether or not the MODE buttons have any effect depends on the settings of the LENGTH and REPEATS controls.
one another. A low-pass filter attenuates signals above its cutoff frequency, passing lower-frequency signals; whereas a high-pass filter attenuates signals below its cutoff frequency, passing higher-frequency signals. As you move the LPF filter control‟s circle to the right, the corner frequency of the low-pass filter increases, allowing more of the signal to pass.
The horizontal position of the white circle in the PAN control sets the initial stereo placement of the looped audio. If the white circle is at the center of the control, the audio is placed at the center of the stereo field. Moving the circle left or right moves the processed audio in the same direction. The DIRECTION & SPEED slider controls the direction that the auto-panner moves the looped audio and the speed with which it moves.
The RANDOM HOLD button, when turned on, causes Replicant to use the same series of randomly generated events for each measure, based on the settings of all parameters at the beginning of the measure. This means that Replicant will generate the same pattern of repeated audio loops until you change any of the controls that are affected by randomly chosen values—essentially all controls other than the filter controls, the panning controls, and the output controls.
can increase the amplitude of the signal substantially. Please exercise caution and use the volume slider to compensate. Level Controls The VOLUME slider controls the volume (loudness) of the looped and filtered audio signal. Moving this slider to the right makes the processed signal get louder. It has a range of -40dB (quite a lot of attenuation) to +6dB (a modest amount of boost). You can use this slider to compensate for the loudness changes created by the resonant filters and/or the bit-depth reducer.
Replicant has a simple “MIDI Learn” mode for assigning its controls to MIDI controllers. To assign a control to a MIDI controller: 1. Hold down the SHIFT and CTRL keys on your PC‟s keyboard, or SHIFT and CMD keys if you‟re using a Mac, and click once on the control. A white box will be drawn around the control to indicate that it is ready to learn which MIDI controller it will be assigned to. 2.
And Finally… Thanks again for purchasing Replicant. We make every effort to ensure your satisfaction with our products, and want you to be happy with your purchase. Please write support@audiodamage.com if you have any questions or comments.
