Recycle! 2.0 Operation Manual

Getting Started
Operation Manual
TABLE OF CONTENTS
5 Introduction 15 Windows Installation
6 Welcome to ReCycle! 16 Requirements
6 What can I do with ReCycle? 16 Setting Up The Computer
6 Copyright Issues 16 Turning on your system
7 About This Manual 16 Finding your way on the ReCycle CD-ROM
16 Installing the Acrobat Reader
9 Macintosh Installation 17 Installing ReCycle
10 Requirements 17 Setting Up The Sampler, MIDI and SCSI
10 Setting Up The Computer 18 Read the Read Me file!
10 Turning on your system 18 Register your software!
10 Finding your way on the ReCycle CD-ROM 18 Launching ReCycle
10 Installing the Acrobat Reader 19 Audio Settings
10 Installing ReCycle 20 Getting Help and Additional Info
11 Setting Up The Sampler, MIDI and SCSI 23 Quick Tour of ReCycle!
11 Read the Read Me file!
11 Register your software! 24 How ReCycle Works
11 Launching ReCycle 25 Using ReCycle - Step By Step
12 Setting up Audio 28 Exporting to File
13 System Information
14 Memory setting and Audio files 29 Sampler Settings
14 Getting Help and Additional Info 30 The Sampler Settings dialog
35 Opening and Receiving Audio

36 About Sounds and Memory
36 Using Open
38 Using Drag and Drop
38 Launching from Files
38 Receiving Audio from the Sampler
39 If the “Do you want to move the left locator...” dialog
appears
2 TABLE OF CONTENTS
41 The ReCycle Window 69 Transmit and Sampler Options
42 Window Overview 70 Selecting a Sampler to Transmit to
44 Handling Windows 70 Transmit and Memory
44 Magnification, Song Position and Scrolling 70 Transmit Options
45 Waveform Display Options 71 The Transmit dialog
46 The View Menu
46 The Edit Menu 75 Saving and Exporting
47 Context Menu Items 76 Saving ReCycle Documents
49 Playing Audio 76 Exporting Files
50 Audio Quality 81 Example Applications

50 Playing the entire Loop 82 Which Samples will work?
50 Auditioning Slices 82 The Simple Trim
51 Preview mode 83 Slicing for Tempo Changes - Sampler and REX
53 Setting Slices And Loops 83 Slicing for Tempo Changes - Exporting to Audio File
84 Slicing for Editing
54 Using Sensitivity 84 Using Silence Selected
54 Using the Hide tool 85 Extracting a Groove
56 Using the Lock Tool 85 Quantizing Audio
57 Selecting Slice Markers 86 Extracting Sounds
57 Manual Slice Handling 86 Using Loops with unusual length or cutting
59 How many Slices do I need?
59 Left and Right Locator — Setting the Loop 87 Index
60 Tempo, Time Signature, Bars and Beats
61 Processing Audio
62 About the Effects
63 Effect Parameters
66 The Process Menu
67 Additional Processing Items
TABLE OF CONTENTS 3
4 TABLE OF CONTENTS
INTRODUCTION
1
Welcome to ReCycle! Copyright Issues
First of all we’d like to thank you for purchasing ReCycle! You are now in The raw material with which you feed ReCycle is drum loops, grooves,
possession of a unique tool which will be an enormous time saver and which breakbeats, or whatever sampled weirdness you find appropriate. Included
will add great creative possibilities to your music making. in this package is a great selection to get started with. When you grow out of
Before ReCycle, using drum loops was very technical. Also, once you had that you’ll find a wealth of other sampling CDs and CD-ROMs out on the mar-
committed yourself to a sample, you were stuck with its inherent tempo, its ket to pick from. However, please read the following text carefully:
bass drum pattern, its snare sound etc. A bit like painting by numbers. Every published recording carries a warning, like this:
With ReCycle all that has changed. This program puts you – the musician – • "All rights of the producer and owner of the recorded work are pro-
back in control, and lets you concentrate on what you do best. Which of tected by law, unauthorized copying, public performance..."
course is creating music.
The text above means it is illegal to use this recording in your own work, un-
less you obtain permission (see below).
What can I do with ! Failing to observe a copyright warning may result in legal action
taken against you. Make absolutely sure any material you use in
your own recordings is cleared for use, or you may find yourself in
ReCycle? serious legal trouble!
Some CDs (and other media) are created specifically for sampling. Even
With ReCycle, you can perform a number of pretty amazing “tricks” on your then you must ensure the result is properly cleared for use in your own re-
drum loops: cordings. If you find a disclaimer text that goes something like the one below,
• Change the tempo without affecting pitch. beware:
• Change the pitch without affecting tempo. • "Every effort has been made to ensure that this CD contains sounds
• Quantize drum loops (either to straighten up the timing or to change you can safely use in your music. However, the producers of this
the feel, for example by applying a “groove map”). product can not accept responsibility for any direct or consequen-
• Extract the timing (a groove map) from a drum loop. This can then tial loss..."
be applied to other sequenced parts or even to other loops!
In this case, please contact the producer to find out exactly what applies.
• Replace individual sounds in a drum loop. Again, do not use any material from this medium without making sure it is
• Edit the actual playing in the drum loop without affecting the basic properly cleared for use.
feel.
• Extract sounds from loops.
Clearing
• Process the loops with various effects.
So, how do you go about obtaining permission to use a recording, often re-
ferred 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 can’t find the owner,
contact the company following the © symbol on the CD. If you can’t 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 assis-
tance.
6 INTRODUCTION
About This Manual
Printed vs. Acrobat
➜ The printed part of the manual covers all basic operations in ReCy-
cle.
➜ The Acrobat files (installed with the program) include a Sampler and
File Format Reference.
ReCycle for MacOS also installs a “Menu and Dialog Help” Acrobat file.
! To be able to read Acrobat (.pdf) files, you need the Acrobat Reader
application. If you don’t have this installed already, you can install it
directly from the ReCycle CD-ROM, as described on page 10 (Mac)
and page 16 (Windows).
MacOS vs. Windows

The documentation is both for the MacOS and Windows versions of ReCy-
cle. 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, win-
dow help and help for specific dialogs from within the program.
INTRODUCTION 7
8 INTRODUCTION
MACINTOSH INSTALLATION
2
Requirements Finding your way on the
To use ReCycle for Macintosh you need the following:
• Any Power Macintosh with a CD-ROM drive and 16-bit audio.
ReCycle CD-ROM
• 16 MB of RAM or more. Once you have turned on your system, insert the ReCycle CD-ROM and
• System 8.6 or later. 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-
For communication with your specific sampler, you might also need: ROM.
• A MIDI interface and cables, and/or...
• A SCSI interface and SCSI cables.
For SCSI communication, your computer must use SCSI Manager 4.3 (see
page 13). Installing the Acrobat
Reader
Setting Up The Computer To be able to read the online documentation, you must have the Acrobat
Reader application installed. If this isn’t already installed on your computer,
Before proceeding, your computer should be set up and you should be rea- you need to install it from the ReCycle CD-ROM:
sonably familiar with its operation. You should also install all peripherals, 1. On the ReCycle CD-ROM, open the folder “Acrobat Reader” and
such as a MIDI interface etc. double click on the file “Reader Installer”.
2. Follow the instructions in the dialogs that appear.
Turning on your system 3. At the end of the installation you may be required to restart your
computer again. Do so.
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
Installing ReCycle
you turn on your computer. 1. On the CD-ROM, double click the icon named “Install ReCycle”.
3. Turn on the computer. 2. Use the options in the dialog to select a destination and follow the
It should come alive, showing the desktop after a while. If it doesn’t, instructions on screen.
check your SCSI setup.
3. Click the “Install” button.
4. Make sure Virtual Memory is Off, in the Memory Control Panel.
This is necessary for trouble-free audio playback. If Virtual Memory is 4. At the end of the installation you may be required to restart your
On, turn it off and restart the computer. computer. Do so.
! Don’t launch ReCycle yet! You need to perform some additional

steps first:
10 MACINTOSH INSTALLATION
Setting Up The Sampler, Launching ReCycle
MIDI and SCSI 1. Locate your ReCycle program icon (in the new “ReCycle” folder on
the hard disk, not on the CD-ROM) and double click on it.
! If you don’t plan to use ReCycle with an external sampler connected 2. The program prompts you to insert the ReCycle CD-ROM (if not al-
ready in the drive).
via SCSI or MIDI, you can skip this section.
This is only required the first time you run the program.
! The newer Macintosh models do not have built in SCSI. These mod- 3. A dialog box appears, asking you to enter your name, company and
serial number. Do so, then click OK.
els require a separate SCSI card to communicate with samplers via
The serial number is printed on the Registration Card which is included in
SCSI.
the ReCycle package. Again, this procedure is only required the first time
you run the program.
1. Open the Sampler and File Format Reference (a document in Acro-
bat format in the ReCycle folder), look up the chapter that describes 4. Now, you will be asked whether the program should search for con-
your specific sampler, and check the heading “Support and Re- nected samplers. If you have any samplers connected, click Yes; if
quirements”. you plan to use ReCycle without samplers connected to the com-
puter, click No.
2. If the sampler connection requires MIDI, turn to the OMS chapter in
When ReCycle finds a properly connected sampler, it is automatically
the same document and install OMS as described there.
added to the Sampler list. You can modify the Sampler list later if you
3. Again, please look up the relevant sampler chapter, and install and wish to add, remove or rename samplers. This is described on page 31.
set up the sampler as described there.
! Not all samplers can be automatically found. Please check the Sam-
! Please read the section about your specific sampler thoroughly! If pler and File Format Reference for details of your specific model(s).
your sampler communicates with the computer via SCSI, please
note that improper SCSI connections may cause permanent dam- 5. Finally, an Open dialog appears, asking you to locate an audio file
age to the computer, sampler and other SCSI peripherals. for opening.
This is the same dialog that appears when you select “Open” in the pro-
gram (see page 36). If you don’t want this to automatically open when
you launch ReCycle, you can turn this feature off in the Preferences dia-
log.
Read the Read Me file!
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 up-
dates that didn’t make it into the manual. Please double click on it and read it
before proceeding.
Register your software!

Please fill out and send in the registration card that comes in this package.
Doing so will make sure you are entitled to technical support and kept aware
of updates and other news regarding ReCycle.
MACINTOSH INSTALLATION 11
Setting up Audio Audio Card Driver
After launching ReCycle, you should open the Preferences dialog on the Edit
ReCycle can play back audio directly from your computer, using the built-in menu and check the Audio Card Driver settings at the top. If you click the
Macintosh Sound Manager driver. Alternatively, if you have a sound card pop-up, all available drivers installed are shown. The Apple Sound Manager
with a dedicated ASIO driver, this is usually the optimal configuration. is always available as the Default output. The Audio Preferences changes
appearance according to whether an ASIO driver or the Apple Sound Man-
If you want to use the internal audio in your computer, we recommend that ager is selected.
you connect the audio output on the back to your sound system instead of
using the Macintosh built in speaker.
➜ Although the built-in sound capabilities on a Macintosh computer
are of a high standard, there are professional samplers that are ca-
pable of even higher quality sound reproduction. This means that
when you are auditioning audio directly from your Mac, this won’t
necessarily reflect the final audio quality in the sampler.
Apple Sound Manager selected.
ASIO driver selected.

If you select an ASIO driver, some additional items will be available in the
Audio Preferences.
➜ If the card and its driver supports it, the “Clock Source” pop-up al-
lows 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.
➜ The ASIO Control Panel may contain settings specific to your audio
card.
➜ If you have an audio card with multiple outputs, you can select General
which output pair you wish ReCycle to use by clicking the “Output
Channels...” button. This section contains info about your computer’s processor type, operating
This item will not be selectable if you use a card with only a regular stereo system, physical memory and virtual memory.
output, or if the default Sound Manager driver is used.
Audio
Sound Manager or Dedicated ASIO? This section shows information about all available audio card drivers.
ReCycle can either use the built-in Macintosh Sound Manager or a dedicated
ASIO driver to play audio. Basically, the following simple rule can be used as OMS
a guide:
This section contains information about the installed OMS version. By using
➜ If you have a sound card with a dedicated ASIO driver, you should the pop-up menu, you can check which MIDI interfaces are available.
select this. Otherwise, use Sound Manager.
➜ It doesn’t matter which interface is “selected” on the pop-up menu.
The pop-up is only there for you to view the available interfaces.
System Information SCSI

When ReCycle is running, you will find an additional item on the Apple menu, This section indicates whether SCSI Manager 4.3 is installed (required for
called “System Information”. If you select this item, a dialog will open, dis- SCSI communication in ReCycle), and contains a pop-up menu where you
playing information about your computer and the SCSI and OMS configura- can view the available SCSI buses.
tions: ➜ Again, it doesn’t matter which SCSI bus is “selected” on the pop-up
menu. The pop-up is only there for you to view the available SCSI
buses.
Copy to Clipboard
Clicking this button copies the contents of the System Information dialog
onto the Macintosh clipboard. You can then paste this into a text file or an e-
mail, e.g. when contacting tech support.
MACINTOSH INSTALLATION 13
Memory setting and Audio Getting Help and
files Additional Info
Every Macintosh program has a memory setting. This is used to tell the com- If you pull down the Contacts menu in ReCycle, you will find some menu
puter how much RAM memory to reserve for a particular program. This set- items that allow you to contact the manufacturers and get support:
ting can be changed from the Finder as described below.
When ReCycle ships, you will be able to load 30 seconds worth of 44.1 kHz
stereo audio (or 60 seconds mono). This is a total figure which can be di-
vided by as many windows as you like.
In addition to this, more free memory is needed when you transmit samples
to your sampler.
If you find you need to increase the amount of memory dedicated to ReCy-
cle, proceed as follows: ! For these items to be useful, you need to have a working Internet
1. If ReCycle is running, save the files you are working on. connection and an Internet browser installed on your computer.
2. Quit ReCycle. ➜ Go to the Propellerhead Homepage

3. Locate the ReCycle icon in the Finder and click on it once to select This menu item brings you to the homepage of Propellerhead Software,
it. where you will find information about possible new ReCycle versions,
etc.
4. Select Get Info from the File menu.
Exactly what the dialog that appears looks like depends on what System ➜ Download Drum Loops
software version you are using. What you are looking for is the setting for This menu item brings you directly to the Drum Loop page on the Propel-
the maximum amount of memory that should be assigned to ReCycle. lerhead web site. Here you can download various drum loops for free.
5. Change the memory setting by clicking on it and typing in a new ➜ ReCycle! Tech Info and Support
value. This menu item brings you directly to the ReCycle Support pages on the
As a guideline, for each 100 kilobyte that you increase the setting with, Propellerhead web site. Use this option if you are having trouble with Re-
you will be able to load approximately one more second of mono audio. Cycle and need help!
6. Now, ReCycle will use this amount of memory, if it is available. If ➜ Order ReCycle Now
there isn’t that much memory for it to “grab” (you might have other This takes you to the “Prop Shop” where you can place orders for all cool
programs running which already occupy some of your memory), it Propellerhead products.
will use as much as it can get. If the program can’t even find the ➜ Register ReCycle Now
“minimum” amount of memory, it won’t start. This is where you register your copy of ReCycle. Registering means that
For more information about the memory settings in the Get Info dialog, see you get access to product updates (when available), tech support and
your Macintosh manual. more.
WINDOWS INSTALLATION
3
Requirements Turning on your system
To use ReCycle for Windows you need the following: 1. If you have any peripherals connected to the computer or sampler,
• An Intel Pentium computer running at 66 MHz or faster. always turn these on first.
• A 800x600, 256 color monitor or better. 2. If you are using a sampler with the operating system on a floppy
• A CD-ROM drive. disk or hard disk, make sure the operating system is loaded before
• 16 MByte RAM or more. you turn on your computer.
• A Windows compatible, 16-bit audio card.
• Microsoft Windows 98 or NT 4.0 or later.
For communication with your specific sampler, you might also need:
• A Windows compatible MIDI Interface and cables, and/or...
Finding your way on the
• A 100% Windows compatible SCSI interface and cables.
ReCycle CD-ROM
Once you have turned on your system, insert the ReCycle CD-ROM and
Setting Up The Computer open it. At the root of the CD-ROM, you will find a file called “Read Me”. Dou-
ble click this to get information about what is what on the CD-ROM.
Before proceeding, your computer should be set up and you should be rea-
sonably familiar with its operation. You should also have the audio card in-
stalled and working properly.
➜ To check whether your audio card works properly, try playing back
Installing the Acrobat
audio with the Media Player application (included with Windows).
Reader
! The quality of the sound during direct playback from ReCycle de-
pends fully on the audio card. If you have a not-so-good audio card, To be able to read the online documentation, you must have the Acrobat
this may mean that the sound quality during direct playback from Reader application installed. If this isn’t already installed on your computer,
the computer isn’t immaculate. However, this does not reflect the fi- you need to install it from the ReCycle CD-ROM:
nal audio in the sampler or in exported files, since this always main- 1. Insert the ReCycle CD-ROM.
tains highest possible quality.
2. On the CD-ROM, open the folder “Acrobat Reader” and double click
Depending on whether you plan to use a sampler, and the model of the sam- on the application file “rsxxx.exe” (where “xxx” is the version of the
pler(s), you may also need to install MIDI and/or SCSI interfaces. See page Acrobat Reader, e.g. “4.05”).
17. 3. Follow the instructions in the dialogs that appear.
16 WINDOWS INSTALLATION
Installing ReCycle Installing SCSI
ReCycle works with any SCSI host adapter that is 100% Windows compati-
1. On the CD-ROM, double click the icon named "Install ReCycle". ble.
2. Follow the instructions in the dialog boxes that appear. ! Do not connect anything to the SCSI card until you have finished in-
stallation of the card and its drivers. Also read the section in the on-
3. At the end of the installation you may be required to restart your
line Sampler Supplement document about your specific sampler
computer. Do so.
thoroughly before making any SCSI connections.
! Don’t launch ReCycle yet! You need to perform some additional

steps first: About SCSI IDs
The SCSI host adapter itself normally has its SCSI ID set to 7. This means
that no other device can be set to SCSI ID 7.
Setting Up The Sampler, Verifying SCSI Communication with the Sampler

The SCSI communication between the computer and the sampler can be
MIDI and SCSI viewed as two different links: the communication between the SCSI host
adapter and the sampler, and the communication between Windows and the
SCSI host adapter. Both these links need to be verified.
! If you don’t plan to use ReCycle with an external sampler, you can
skip this section. ! If any of the verifications below fail, you need to check your SCSI
connections and settings and try again. Again, make sure you have
1. Open the Sampler Supplement (a document in Acrobat format in the read the section about your sampler in the online Samplers docu-
ReCycle folder), look up the Appendix that describes your specific mentation.
sampler, and check the heading “Support and Requirements”.
2. If the sampler connection requires MIDI, you need to have a MIDI in- Verifying that the SCSI Host Adapter “sees” the Sampler
terface installed and working.
When you turn on your computer after having connected and booted the
To install a MIDI interface, follow the instructions in the manual that came
sampler, look at the initial BIOS information displayed on screen (before
with it. Make sure to install the latest driver for the interface.
Windows is started). When the BIOS of your SCSI host adapter starts, you
3. If the sampler connection requires SCSI, you need to have a SCSI will note that it scans the SCSI bus for connected units. If your sampler is
interface installed and working (see “Installing SCSI” below). properly connected and running, the SCSI host adapter should find it and
display its name briefly.
4. Again, please look up the relevant sampler Appendix, and install
and set up the sampler as described there.
! Please read the section about your specific sampler thoroughly! If

your sampler communicates with the computer via SCSI, please
note that improper SCSI connections may cause permanent dam-
age to the computer, sampler and other SCSI peripherals.
WINDOWS INSTALLATION 17
Verifying that the Sampler is registered by Windows
When Windows starts you should get an alert saying that “Windows has
Launching ReCycle
found new unknown hardware”. This indicates that Windows has found your
1. Locate the ReCycle entry on the Start menu and select it.
sampler. The “Add New Hardware Wizard” will then appear, asking you to in-
stall device drivers for the hardware. Proceed as follows: 2. The program prompts you to insert the ReCycle CD-ROM (if not al-
1. On the first page of the Wizard, just click “Next”. ready in the drive).
This is only required the first time you run the program.
2. Next, select the option “Search for the best driver for your device”
and click “Next”. 3. A dialog box appears, asking you to enter your name, company and
The Wizard will now display a page with options for where Windows serial number. Do so, and click OK.
should look for the new driver (floppy disk, CD-ROM, etc.). The serial number is printed on the Registration Card which is included in
the ReCycle package. Again, this procedure is only required the first time
3. Make sure none of these options are selected, click “Next” and then you run the program.
“Next” again.
The Wizard will now inform you that Windows hasn’t installed a driver for 4. Now, you will be asked whether the program should search for con-
the device, which is precisely what we want. nected samplers. If you have any samplers connected, click Yes; if
you plan to use ReCycle without external samplers, click No.
4. Click “Finish”. When ReCycle finds a properly connected sampler, it is automatically
added to the Sampler list. You can modify the Sampler list later if you
! Depending on the type of sampler, the “Unknown Hardware” alert wish to add, remove or rename samplers. This is described on page 32.
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 5. Finally, an Open dialog appears, asking you to locate an audio file
will only have to do this the first time you start the computer with for opening.
the sampler connected. This is the same dialog that appears when you select “Open” in the pro-
gram (see page 36). If you don’t want this to automatically open when
you launch ReCycle, you can turn this feature off in the Preferences dia-
log.
Read the Read Me file!

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 up-
dates that didn’t make it into the manual. Please double click on it and read it
before proceeding.
Register your software!

Please fill out and send in the registration card that comes in this package.
Doing so will make sure you are entitled to technical support and kept aware
of updates and other news regarding ReCycle.
➜ If there is no specific ASIO driver, you should select the Direct
Audio Settings Sound driver for the audio hardware.
This makes ReCycle communicate with the hardware via Direct Sound (a
After launching ReCycle, you should open the Preferences dialog on the Edit part of the Microsoft DirectX package). For this to be possible, you need
menu and check the Audio Card Driver settings. 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 Direct Sound driver for a Creative SoundBlaster PCI card selected.
The first thing to do is to select a driver for your audio card. All available driv- ➜ If the audio hardware doesn’t support Direct Sound (i.e. there is no
ers are listed on the Audio Card Driver pop-up menu. Select after the criteria Direct Sound driver for the audio hardware), select the MME driver
listed below: for the audio hardware.
This makes use of Windows Multimedia Extensions, the part of Windows
➜ If you are using audio hardware for which there is a specific ASIO that handles audio, MIDI, etc. Using MME may result in a noticeable la-
driver, you should select this. tency, causing the audio playback to be slightly delayed. In the case of
With an ASIO driver written specifically for the audio hardware, ReCycle ReCycle, you would notice this in that playback started slightly after you
can communicate more or less directly with the audio hardware. clicked the Play button, for example.
If you select an ASIO driver, some additional items will be available in the Regardless of which type of audio hardware or drivers you are using, you
Audio Preferences: should follow these basic steps:
➜ If the card and its driver supports it, the “Clock Soutce” pop-up al- 1. Make sure you have the latest drivers for the audio hardware!
lows you to set an external source to which the audio playback can Please check the manufacturer’s website for the latest versions.
synchronize its sample rate. 2. Install the audio hardware and its drivers as described in its docu-
Please refer to the documentation that came with your card for details. mentation.
➜ The ASIO Control Panel may contain settings specific to your audio 3. Connect the stereo outputs of your audio hardware to your listening
card. equipment (speakers, mixer, headphones or similar).
4. If possible, test that audio plays back properly with the audio hard-
➜ If you have an audio card with multiple outputs, you can select ware.
which output pair you wish ReCycle to use by clicking the “Output In the case of audio hardware with ASIO drivers, you will need some test
Channels...” button. application for this (often included with the audio hardware). If you are
This item will not be selectable if you use a card with only a regular stereo using DirectX or MME drivers, you can use Windows’ Media Player appli-
output. cation for this.
Setting the Audio Card Buffer
Getting Help and
ASIO
If an ASIO driver is selected, there will be no “Buffer Size” slider in the Pref-
Additional Info
erences dialog.
If you pull down the Help menu in ReCycle, you will find menu items for get-
➜ If you are using an ASIO driver specifically written for the audio ting help, support and information:
hardware, you can in some cases make settings for the hardware by
clicking the Control Panel button.
This opens the hardware’s ASIO Device Control Panel, which may or
may not contain parameters for adjusting the number and/or size of the
audio buffers - the fewer and smaller the audio buffers, the lower the la-
tency. Please consult the documentation of your audio hardware and its
ASIO drivers for details!
DX/MME
For DirectX or MME drivers, it is important that you trim the buffer setting
properly. The buffer setting is a balance between fast response to playback
commands on one hand and “safe” audio playback on the other.
1. Select “Open” from the File menu.
2. In the dialog that appears, navigate to the ReCycle program folder. Help Contents
Make sure the “All Files” option is selected on the “Files of type” pop-up
menu. ➜ If you select “Contents” the Help Contents appears. The on-line
help contains descriptions of all menu items, allowing you to
3. Open the file “Drum Tools Demo.aif”. quickly find the desired item.
You can also perform a keyword search.
4. Activate Playback by clicking the Play button.
➜ You can also get help by clicking the Help button or [F1] in ReCycle
5. Open the Preferences dialog from the Edit menu.
dialogs to get specific information about each dialog.
6. In the Preferences dialog, locate the Buffer Size slider and drag it all
➜ Pressing [F1] (with no dialog open) will launch help for the main Re-
the way to the right.
cycle Window where you can click on the item or section you want
to know more about.
The Buffer Size slider.
7. Now drag the Buffer Size slider to the left, a bit at a time. Try posi-
tions further and further to the left, until the sound starts ”breaking
up”.
8. Drag the slider a little bit to the right, so that the sound is OK again.
9. Close the dialog.
You are now finished with your audio settings for ReCycle. The settings you
just made are stored automatically.
Contacts System Information
The next items on the Help menu allow you to contact Propellerhead Soft- If you select this item, a dialog will open, displaying information about your
ware for support and more info. computer and the MIDI and SCSI configurations:
! For these items to be useful, you need to have a valid Internet con-
nection and an Internet browser installed on your computer.
➜ Go to the Propellerhead Homepage...

This menu item brings you to the homepage of Propellerhead Software,
where you will find information about possible new ReCycle versions,
etc.
➜ Download Drum Loops...
This menu item brings you directly to the Drum Loop page on the Propel-
lerhead web site. Here you can download various drum loops for free.
➜ ReCycle Tech Info and Support...
This menu item brings you directly to the ReCycle Support pages on the
Propellerhead web site. Use this option if you are having trouble with Re-
Cycle and need help!
➜ Order ReCycle Now
This takes you to the “Prop Shop” where you can place orders for all cool
Propellerhead products.
➜ Register ReCycle Now
This is where you register your copy of ReCycle. Registering means that
you get access to product updates (when available), tech support and
more.
➜ You cannot change any settings in this dialog - it is only there to
give you information.
The pop-up menus are really just lists of installed drivers.
General
This section contains info about your computer’s processor type, Windows
version, physical memory and DirectX version.
Audio
This section contains a list of the available Audio Card Drivers. If you select
one of the drivers from the pop-up menu, the version and type (ASIO/MME/
DirectX) of the driver are displayed below.
MIDI
This section contains a list of the available MIDI ports. If you select a port
with the pop-up menu, its driver version is displayed below.
SCSI
This section indicates which version of ASPI (the protocol for SCSI commu-
nication under Windows) is installed. The pop-up menu contains a list of the
available SCSI buses.
Copy to Clipboard
Clicking this button copies the contents of the System Information dialog
onto the Windows clipboard. You can then paste this into a text file or an e-
mail, e.g. when contacting tech support.
About ReCycle
Selecting this item brings up a dialog listing the fine people involved in creat-
ing this program.
QUICK TOUR OF RECYCLE!
4
How ReCycle Works 3. Once all this is done, you are finished with ReCycle. Now you load
the MIDI file into your sequencer program and play it back from
there.
There are many things you can do with ReCycle. But the most common ap- This will perfectly recreate the way the loop originally was. But now that
plication is to slice a loop for tempo changes or editing. These are the basic the loop is broken down into slices, you can change the tempo in the se-
steps (details follow later in this chapter): quencer and the loop will follow. You can also perform detailed editing,
quantizing and other operations on the MIDI file. This will be equivalent to
1. Load the loop in from your sampler, or, if you have the loop as an editing the loop, since each note in the MIDI file directly represents a
audio file on your hard disk, open it. sound in the loop!
The program now analyses the loop and detects the individual “hits” or
“sounds” in it. It then displays the loop in the waveform display.
Using the Loop in another Program
2. The second step is to work with the Sensitivity slider and the tools
to set up a number of slices. 1. Save the Loop.
Each slice represents an individual sound in the loop. Slices are dis- This operation produces a REX2 file, the native file format used by ReCy-
played as vertical lines across the waveform. cle. REX2 files contains both the audio data of the loop, the slice informa-
tion and the original (calculated) tempo.
3. The slices are now used for setting up loop points using the left and
right locators. Play back the audio to check that the loop is correct. 2. Launch the program (Cubase for example), and import the REX2 file
The loop settings are used by ReCycle to calculate the tempo of the sam- onto an Audio Track.
pled loop, among other things. The slices will now appear in their correct order and positions, and you
will be able to change tempo and manipulate the slices much like when
4. Once you have set the loop points, you can enter the length of the using a sampler.
loop in Bars/Beats, and change the Time Signature if required.
Finish by pressing [Return], and the original tempo will be calculated and ! The handling of REX2 files in Cubase is described in detail on page
displayed on the toolbar according to the settings made. 78.
5. Now you can enter Preview mode, and change the tempo and pitch
independently, add processing and much more. On the following pages you will find a quick tutorial. After this are handling in-
Everything you do in Preview mode will be present in the resulting REX2 structions for all different aspects of the program. In the chapter “Example
file or when transferred to your sampler - what you hear is what you get. Applications” you will find more practical examples of what you can do with
ReCycle.
Once you have tweaked the loop to your liking in Preview mode it’s time to
put the loop to use. At this point the procedure is different depending on
About ReCycle and Reason
whether you are using ReCycle with a sampler or in conjunction with another
computer program that can read REX2 files (such as Propellerhead Reason Reason, another program by Propellerhead Software, features a dedicated
or Steinberg Cubase): ReCycle file player (Dr. REX). In addition to playing back ReCycle files, Dr.
REX allows you to further process files with various synth parameters, to
Transferring and Using the Loop in a Sampler change the pitch of individual slices and much more. The Reason sequencer
also has a separate REX editor for editing slices.
1. First you need to transmit the sliced-up loop back to the sampler.
Only this time, each slice is transmitted as an individual sample.
The samples are automatically mapped across the “keyboard” in the
sampler, chromatically. This means that if you play the new samples in
succession, you get the original loop back. This would be very hard to do
by hand, so...
2. Next, let the program create a MIDI file that will play the slices, one
after the other each with the correct length.
24 QUICK TOUR OF RECYCLE!

Using ReCycle - Step By 4. In the window, click the Play button.
You should now hear the entire loop, from start to end, repeating until
you click the Stop button. As you can hear, the Drum Tools Demo loop
Step has “double” downbeats, it starts on a downbeat, and ends on a down-
beat, which means that two downbeats are played in succession when
the file is looped. We shall fix this shortly - now proceed.
The text below assumes that you have installed ReCycle and a MIDI se-
Stop Play
quencer such as Cubase and that all connections to your sampler are set up
and working. If not, please see the Installation chapter for more information.
1. Launch ReCycle by double clicking on its icon.
The Open dialog may appear, depending on the setting the Preferences
dialog. If not, select Open from the File menu.
5. Drag the Sensitivity slider to the right, until its value is between 70
2. Locate the file called “Drum Tools Demo.aif” in your ReCycle folder.
and 80 and a number of lines appear.
3. Select the file and click Open. We call those lines and their triangle symbols “slices” since they indicate
You will be asked whether you want the Left Locator to be moved to the that the sound has now been cut up into slices.
first Slice point (see page 39 for more info). Click Yes.
The Drum Tools Demo loop.
The Sensitivity Slider and some slices.
6. Position the mouse pointer over the “L” handle (the Left Locator)
and drag it to the left a bit and release it.
As you will see, it winds up exactly on one of the slices, and on the next
lap, playback starts from this point.
QUICK TOUR OF RECYCLE! 25

7. Drag the Left and Right Locators until the loop is exactly 1 bar long. ➜ By adjusting the Preview Tempo knob or typing in a new tempo di-
The left locator should be positioned at the start of the loop, on the first rectly in the Preview Tempo field, you can change the tempo of the
slice marker, and the right locator should positioned on the last slice loop.
marker. This last slice contains the “extra” downbeat (see step 4), but as If you intend to play back the loop as a REX2 file in a sequencer, or if you
the Right Locator position governs when the loop should jump back to transmit the loop to a sampler together with a MIDI file, the loop will follow
the Left Locator, this second downbeat won’t be played, and the loop will the tempo setting of the sequencer, regardless of this setting!
now be exactly 1 bar.
➜ By adjusting the Pitch knob you can change the pitch of the loop.
➜ There is a Gate function which can be used to remove all sound in a
loop that falls below a set threshold.
This is described on page 68.
➜ In addition there are three effect processors; Envelope, EQ and
Transient Shaper, that allow you to further tweak the sound of the
loop before transmitting it to your sampler, or exporting/saving it as
The Locators set up correctly. a file.
The processors are described in the chapter “Processing Audio”.
12. Pull down the Process menu and check the Transmit options (the
8. With playback turned off, move the pointer over the waveform view. items “Transmit as One Sample” and “Silence Selected”). They
The pointer changes to a speaker symbol. should be turned off (no tick mark).
9. Click with the Speaker pointer on the slices in the waveform view. The status of the Transmit options can also be toggled by using the
You will hear each individual sound in the loop. The slice you clicked last is Transmit option buttons on the Toolbar.
indicated by a dotted vertical line to the left - this slice is called the Current
Slice. You can also drag the pointer over the slices with the mouse button ! If you don’t use ReCycle together with a sampler, but rather with an-
pressed to audition the sounds in the loop. other computer program such as Reason or Cubase, you could at
this point simply save the sliced-up loop as a REX2 file and import
10. Click in the “Bars” field, type “1”, and hit [Return]. this file into the program. This is described on page 78.
The calculated tempo is now shown as the “Orig. Tempo” on the Toolbar.
So, now we have everything we need, a perfect loop, a tempo, possibly
some audio processing parameters, and a good set of slices. Let’s send this
stuff to the sampler.
13. Pull down the Sampler menu and select the sampler you want to
The Bars/Beats settings, the (calculated) Original Tempo and the Preview Tempo use, at the bottom of the menu.
field. The available options on this menu depends on which samplers you
have added to the Sampler List, manually or automatically, as described
11. Click on the Preview Toggle button. on page 30.
Preview mode is now activated.
! If you are using a file-based sampler such as SampleCell or a
SoundFont compatible soundcard, you transfer using the Export di-
alog on the File menu. See page 76.
Now you can make various settings to the loop, and hear the results in real-
time. Preview mode lets you hear exactly how the loop will sound after being
saved as a file or transmitted to your sampler:

14. Pull down the Sampler menu and select the top item on the menu 5. Try changing the tempo in the sequencer.
(“Transmit to...”), depending on what you selected in the previous The fact that you can lower the tempo without the loop sounding
step). “chopped up” is thanks to the Stretch setting in ReCycle. See page 63 for
A dialog box opens. Exactly what the dialog looks like depends on the details.
sampler. As an example, we’re showing the Yamaha A3000 dialog.
6. If you want to, you can also try customizing the loop by editing, re-
arranging and duplicating the events in the sequencer.
7. In the sampler, try re-tuning samples, altering envelopes, sending
samples to different outputs, panning etc.
15. Click “MIDI File+Transmit” (or “MIDI File+Export” depending on

what you selected in step 14 above).
Now the following happens:
➜ The slices get transmitted to the sampler.
For details, see page 71.
➜ A regular file dialog box appears allowing you to position and name
the MIDI File (we will later use this file to play back the loop). Save
the file.
Now we are actually done with ReCycle for a while. Let’s start using the stuff
that the program produced for us.
1. You will only need to make sure that the “Program” (or whatever it
is called) that was created, is selected in the sampler and that the in-
strument is receiving on the MIDI channel of your choice.
2. Launch your MIDI Sequencer and make sure you are also transmit-
ting correctly to the sampler (set the MIDI Output and MIDI Chan-
nel).
3. Play your keyboard to check the material in the sampler. You will
note that each key plays a slice. What was previously one long re-
cording is now a number of short snippets spread out over the key-
board. If you play the keys chromatically upwards, the loop will be
recreated (although probably not with perfect timing!).
4. Load the MIDI file you just saved to disk into your sequencer pro-
gram. Set it to output to the sampler and start playback.
The loop will play back as it originally did.
QUICK TOUR OF RECYCLE! 27

Exporting to File
Besides creating REX2 files for use in audio sequencers, or transmitting sep-
arate slices to samplers, ReCycle can be used to simply change the inherent
properties of a file, like the tempo and/or the pitch for example. You can then
export the loop (as one sample - not as separate slices) and use it in any au-
dio application or sampler.
A typical example would be a situation where you have found a perfect loop
you wish to use in a song you have recorded. The problem is that the tempo
of the loop is wrong, and you don’t wish to change the tempo of the song to
accommodate the loop, Let’s further assume that the song has been re-
corded using a hard disk recording system that cannot import REX2 files,
and you don’t have a sampler.
The simple answer is if the loop you want to use can be opened in ReCycle,
you don’t have a problem! Proceed as follows:
1. Open the file in ReCycle and use the normal techniques to add an
appropriate amount of slices, set the number of Bars and Beats etc.
(to calculate the original tempo) and then enter Preview mode.
Note that even though you will export the file as one sample, you still
have to slice the file!
2. In Preview mode, simply type in the Preview Tempo to match the
song tempo, and/or change the pitch to fit the song.
Naturally, you can also add equalization, or any of the other Effects or
processing functions if you like.
3. Activate “Transmit as One Sample” on the Process menu.
4. Use the Export File dialog (see page 76) to save the file in it’s origi-
nal format.
The resultant file will now match the songs tempo and/or pitch perfectly!
Congratulations! You just tried out some of the basic capabilities of your new
program! Of course, there’s a lot more to learn and discover. Please proceed
to the following chapters to find out about all the capabilities of this amazing
program!

SAMPLER SETTINGS
5
The Sampler Settings ! That a sampler is on the list doesn’t mean it’s set up correctly or
even connected to the computer! ReCycle doesn’t automatically re-
dialog move samplers from the list if they are not connected. You may tem-
porarily disconnect your sampler between sessions, without having
to set it up in ReCycle again.
! If you are not using ReCycle with a sampler connected to the com-
puter, you can skip this chapter. Finding all Connected Samplers
There are special considerations regarding the following sampler models or
! For file-based samplers (SampleCell, Mixman or SoundFonts) and setups:
the AKAI S5000/S6000 series, this dialog is not used. See the “Sam-
➜ Ensoniq samplers (all models).
pler and File Format Reference” Acrobat documentation for details.
These cannot be automatically found by ReCycle.
➜ Generic SDS and SMDI (Generic and Extended).
These cannot be automatically found by ReCycle.
➜ Multiple instances of the same model samplers that require a MIDI
connection for SCSI transfers (i.e Kurzweil K2000/Yamaha A3000/
Roland S-760).
There may be problems if you have two or more of the above mentioned
sampler models (that is, two or more instances of the same model) con-
nected via MIDI, and one of these is also connected via SCSI.
In all the above mentioned cases, you should instead add the samplers man-
ually, see page 31.
ReCycle can scan the SCSI and MIDI connections and automatically add all
properly connected samplers to the Sampler List:
1. Open the Sampler Settings dialog.
You should have turned on and booted all connected samplers before
The Sampler Settings dialog on the Edit menu is where you set up and edit you turned on the computer and launched ReCycle.
the Sampler List. The samplers you have included on this list will be avail-
able on the Sampler menu in the main ReCycle window, for transmit and re- 2. Click the “Find All...” button at the bottom of the dialog.
ceive operations. ReCycle scans for samplers.
3. When a properly connected sampler is found (that isn’t already on
the Sampler List), you will be asked if you want to add it to the list.
Click “Yes” to add the sampler to the list.
4. If a sampler is found, that is already included on the Sampler List,
ReCycle will tell you this.
Click “Skip” to continue the search.
The items on the bottom of the menu are taken from the Sampler List. ! 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 manually (see page 31).
30 SAMPLER SETTINGS
➜ If a sampler is found, that isn’t properly connected, ReCycle will in- 2. Use the Model pop-up menu to select the sampler model you want
form you of this and tell you what you need to do. to add.
For example, you may have a Yamaha A3000 sampler connected via Note that each actual sampler model may have more than one entry on
SCSI only. The program will find it, but since this sampler requires a MIDI the pop-up menu, if there are different ways to connect the sampler (e.g.
connection, it will not be added to the Sampler List. Instead you will be via MIDI or via SCSI).
asked to check your MIDI connection and MIDI interface.
Once the Find All process is complete, all properly connected samplers have
! There are special considerations for some E-mu samplers - please
been added to the Sampler List (provided that you clicked “Yes” for each one read the E-mu chapter in the Sampler and File Format Reference on-
of them in step 3 above). You can check this by pulling down the Sampler line document!
pop-up menu at the top of the dialog.
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.
You can now rename and edit the settings for samplers on the list, as de-
scribed below. ! 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
Adding a Sampler Manually MIDI/SCSI settings manually in the Sampler Settings dialog, as de-
scribed on page 32.
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 4. To add a sampler without “finding” it, click OK.
up your system before you connect your samplers, or if you have several A sampler of the specified model is added to the Sampler List, with de-
samplers of the same model connected (since ReCycle only “finds” one sam- fault values for SCSI and/or MIDI settings. You will probably have to
pler of each model): change the SCSI and/or MIDI settings manually later.
1. Click the “Add...” button at the bottom of the Sampler Settings dia-
log. About the Generic SDS and SMDI Samplers
The Add Sampler dialog appears.
! Samplers that may be compatible with the Generic SDS/SMDI and
Extended SMDI formats cannot be automatically “found” by ReCy-
cle, 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 documenta-
tion for details).
These are not samplers as such, but rather protocols for transferring sam-
ples between two devices. If your sampler model isn’t 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 de-
scribed 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 pur-
pose as SDS.
SAMPLER SETTINGS 31
Common to both protocols is the ability to send samples between any two ➜ MIDI settings.
devices in a commonly recognized format. See the “Sampler and File Format If the selected sampler uses a MIDI connection, you will find settings for
Reference” online document for details. MIDI In/Out ports and SysEx ID. To change these settings, use the re-
spective pop-up menu.
Adding an Ensoniq Sampler ➜ SCSI settings.
For technical reasons, Ensoniq (and other sampler models in some cases - If the selected sampler uses a SCSI connection, you will find settings for
see page 30) samplers cannot be automatically “found” by ReCycle. This SCSI Bus and SCSI ID. To change these settings, use the respective
means you have to add Ensoniq samplers manually, without “finding” them pop-up menu.
(by clicking OK in the Add Sampler dialog as described above), and then ad-
just the MIDI settings in the Sampler Settings dialog. ! If you change the MIDI or SCSI settings manually this way, you
should always use the Verify function to check that the sampler is
! Make sure the Ensoniq sampler isn’t in “Load Mode”, as this will on-line.
disable MIDI communication!
Read the Sampler Information!
Verifying the Connection with a Sampler
Near the lower left corner of the Sampler Settings dialog, you will find a small
icon next to a “Verify” button. The icon indicates whether the currently se-
lected sampler on the Sampler pop-up menu is properly connected (on-line)
or not.
For example, if you add a sampler manually without using the “Find” func-
tion, the icon will be a red cross, indicating that the sampler isn’t on-line. If
the selected sampler is found automatically by ReCycle, the icon will be a
green check mark, indicating that the sampler is on-line.
Sampler on-line. Sampler not on-line. When a sampler is selected (on the Sampler pop-up menu), you will see an
image of its front panel displayed to the right in the Sampler Settings dialog,
along with model and connection information. Below the image, you will also
➜ To update the status of the icon and check the connection to the
find the following information:
currently selected sampler, click the “Verify” button.
For example, you may want to do this after having changed SCSI or MIDI ➜ Required OS.
settings, as described below. This is the operating system required for the sampler to work with ReCy-
cle.
➜ Each time you launch ReCycle, the program automatically Verifies
the connection with all samplers on the Sampler list. ➜ Found OS.
If a sampler isn’t on-line, it will not be available on the Sampler menu. This is the operating system currently used by the sampler. If this is an
older OS version than the “Required OS”, you need to upgrade the sam-
Making Settings for a Sampler pler.
In the area to the left in the Sampler Settings dialog, you can adjust the set- ➜ Stereo Support
tings of the currently selected sampler. There are three sections: This tells you whether the sampler supports stereo audio files or not.
➜ Name. ➜ Notes.
This shows the name of the sampler as it will appear on the Sampler Under this heading you may find additional important information.
menu in the main ReCycle window. If you wish to rename it, click the “Re-
name...” button and enter a new name.
32 SAMPLER SETTINGS
Deleting a Sampler from the list
If you wish to remove a sampler from the Sampler List, proceed as follows:
1. Pull down the Sampler pop-up menu and select the sampler you
want to remove.
2. Click the “Delete...” button at the bottom of the dialog.
3. Click “Yes” to confirm that you want to remove the sampler.
SAMPLER SETTINGS 33
34 SAMPLER SETTINGS
OPENING AND RECEIVING AUDIO
6
About Sounds and Using Open
Memory
Whenever ReCycle displays audio in a window, it has to load it into the com-
puter’s RAM memory.
MacOS Note: If you want to be able to load a lot of sound files or if you want
to have many windows open at the same time you will need to assign the
program more memory. See page 14 for more info.
How much audio you can load into the program at one time depends on how
much memory you have in your computer (total) and how much of it that
other programs are currently using. If the program tells you there is not
enough memory for a certain operation, or if you can’t open an audio file (in
any of the supported formats), the first thing to try is to quit other programs.
You can open files (mono or stereo) that are up to five minutes in length, if
you have enough memory for it. To open a five minute stereo file ReCycle
has to have access to 52 MByte of memory. Please note though, that Trans-
mitting audio requires even more memory (the exact amount depending on
the length of the Slices and the Stretch factor).
About REX2 Files

REX2 is the native file format of ReCycle. Saving a file in this format will sig-
nificantly reduce the size of the file. This is achieved by applying a compres-
sion algorithm to the file when saved. The compression is “non-lossy”
The Open dialog.
meaning that it does not compromise the audio quality in any way. How
much the file will be compressed compared to the original size depends on The Open item on the File menu is used to load audio files from the hard
the complexity of the audio and other factors. When you open a REX2 file, disk.
the file information in the Open dialog will tell you how much the size has The dialog box is a standard file dialog with some additions.
been reduced, expressed as a ratio (see page 37).
! By default, this dialog will appear automatically when you launch
ReCycle. If you don’t want this, open the Preferences dialog on the
Edit menu, and deactivate the “Show Open Dialog on Startup” op-
tion.
36 OPENING AND RECEIVING AUDIO

File Information You will not be able to play a file under the following conditions:
• If the file is in a format ReCycle doesn’t support.
When you select a file in the list, information about file type, length, etc. is
shown in the lower part of the Open dialog. • If there isn’t enough memory (RAM) left to load the sample.
• If the sample is longer than 30 seconds, the Auto Play function will
not work - you can, however, audition it using Play.
File Type Selector (Windows only)

➜ When the last item on this menu is selected, the file list will show all
files in the directory that are in any of the formats that ReCycle sup-
ports.
The File information. ➜ When any of the other alternatives are selected, the files list only
For all recognized audio file formats, the following information is displayed: shows files in that format.
• File Type (see “File Formats” next page).
• Number of channels.
About The Different File Formats
• File Length. ReCycle can load mono or stereo files that meet the following criteria:
• Bit depth. • The bit depth can be 8, 16 or 24 bits.
• Sample Frequency. • Sample rates between 11.025 kHz to 1.0 MHz are supported.
• File Size, in Bytes (For REX2 files the data compression ratio is dis- • The file is not longer than 5 minutes (regardless of sample rate and
played in parentheses. In the picture above, 2.4:1 means that the file mono/stereo status).
was 2.4 times larger before it was compressed). The table below shows the supported file formats.
If the file is a ReCycle file, the following additional information is displayed:
• Tempo. | Name | Extension | Comment
• Time signature.
ReCycle RX2/RCY/ REX2 (*.rx2) is the native file format created
• Length in bars and beats. REX when you save in ReCycle. RCY/REX are ReCy-
• Usage, which tells you the size of the loop (i.e the audio between the cle files that were created with previous versions
locators) in relation to the total file size in percent. of ReCycle.
• The number of slices in the file (only available if a REX2 file is se-
lected). Wave WAV The standard Microsoft file format for audio. May
• Export Size tells you the size of the file if transmitted/exported (only be stereo or mono or in formats other than 16-
available if a REX2 file is selected). bits.
Audio IFF AIF Audio Interchange File Format; Apple’s standard
Play and Stop buttons (AIFF) audio file format. May be stereo or mono or in for-
mats other than 16-bits.
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 | Name | Extension | Comment
file selected from the dialog. If a new file is selected during playback, the pre- Sound SD2 The current Digidesign file format. May
vious selection will stop and playback of the new selection will start directly. Designer II be stereo or mono and at least 16 bits.
OPENING AND RECEIVING AUDIO 37

Using Drag and Drop Receiving Audio from the
ReCycle supports standard Drag and Drop. Proceed as follows:
1. In the Finder/Explorer, locate an audio file in one of the supported
Sampler
file formats. If you have an external sampler connected to the computer, ReCycle can re-
ceive the audio directly from it.
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 1. Make sure the sampler is selected on the lower half of the ReCycle
isn’t, ReCycle launches and the file opens. 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.
Launching from Files 2. Select “Receive...” from the Sampler menu.

A dialog appears. Its exact appearance depends on which sampler you
➜ Any files created by ReCycle will open in ReCycle if you double have.
click on them.
➜ 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 Yamaha A3000 Receive dialog.
3. In the dialog box you will find a pop-up which allows you to select a
sample in the sampler.
4. Clicking Receive transfers the sample into the computer and opens
it in a new window.

If the “Do you want to
move the left locator...”
dialog appears
If you Open or Receive a sample, and there is no loop setting, or the loop
start is just at the beginning of the sample, a dialog appears suggesting you
should let the program move the Left Locator to the first slice point. This is to
avoid very short slices at the beginning of the sample. We recommend that
you click “Yes” unless you have good reason.
➜ If you want this to be done automatically, open the Preferences dia-
log on the Edit menu and activate the option “Always Move Left Lo-
cator to First Slice Point”.
When this is activated, ReCycle will automatically place the Left Locator
on the first slice point when you Open or Receive a sample, without ask-
ing.
See page 59 for more information on setting Locators.
OPENING AND RECEIVING AUDIO 39

THE RECYCLE WINDOW
7
Window Overview Waveform Display
Slice Marker Handle Thumbnail overview Vertical Magnification
Tool Bar
The left half of the Toolbar contains the following items:
Open/Save Effect buttons Stop Slice Audition buttons
Transmit as one Sample Preview toggle Play
Tools Export Sound Sensitivity slider Gate

Sensitivity
Transmit/Receive Silence Selected
The right half of the Toolbar contains the following items:

Length settings Time Signature
Left Locator Slice Marker Right Locator
Horizontal Magnification Waveform Level meter
Preview Pitch Processing Gain Preview Tempo setting

and Original Tempo
42 THE RECYCLE WINDOW

Status Bar Toolbox
The Status Bar is located at the bottom of the screen (MacOS) or at the bot-
tom of the application window (Win).
The leftmost area of the Status Bar displays the following:
➜ If you point anywhere on the Toolbar, this area will display “ex- The Toolbox is located in the upper left corner of the toolbar. You select a
tended” tooltips and, if applicable, keyboard shortcuts in parenthe- tool from the Toolbox by clicking on its icon. Below follows a brief description
ses for any Toolbar item you point to. of what the tools do. Detailed applications follow later in this chapter and in
This area says “Ready” if you are not pointing at any item. the following chapters.
| Tool | Description
Left corner of the Status Bar (while pointing at the Sensitivity Slider). Arrow Used for selecting Slice markers by clicking on their handles.
➜ Pointing in the waveform display will show the position (in seconds Hide Used for deactivating slices by clicking on their handles.
or samples depending on the Preferences setting). Lock Used for locking slices, by clicking on their handles.
In addition, the Status Bar always displays the following properties regarding
Pencil This is used for adding slices manually.
the currently selected file in the right half of the Status Bar:
• Stereo/Mono status of the file.
• The sample rate at which the file was recorded. Level Meter
• The number of slices between the locators.
• The length of the file in seconds.
• The size of the transmitted/exported data in bytes. Clip indicators
Right corner of the Status Bar.
Window Title
The level meter indicates the output level of the selected file during playback.
The window title displays two things: Two meter bars are shown for stereo files and one bar for mono files.
• The name of the file. You should check that levels never cause the Clip indicator(s) at the top of
• An asterisk that indicates if the file hasn’t been saved yet. the meter to light up.
• If Preview mode is selected, the meters indicate the level post any
applied effects.
• You can boost or cut the level with the “Gain” parameter in Preview
mode.
In case of boosting the output level, watch the meter (and listen) carefully to
avoid clipping.
THE RECYCLE WINDOW 43

Handling Windows Using The Magnifying Glass
Zooming in
You can Open or Receive as many loops as RAM permits, and they will each
appear in a window. 1. Hold down [Command] (MacOS) / [Control] (Windows).
• For more information about window handling, see the documenta- 2. Move the mouse over the waveform area.
tion that came with your computer. The pointer turns into a magnifying glass.
• ReCycle’s Windows menu contains a list of the currently open win-
dows. Selecting one makes it active. ➜ Click once in the waveform.
• The Close item on the File menu closes the active window. The view is zoomed in one step. The position you clicked at will be cen-
tred in the window.
• Close All on the Windows menu closes all windows.
Zooming out
➜ Zooming out is done the same way as zooming in, except you also
Magnification, Song hold down the [Option] (MacOS) / [Alt] (Windows) key.
Position and Scrolling The Zoom in and zoom out tools.

The Horizontal Magnification Indicator
Using a Zoom rectangle
To select a certain area to zoom in on, proceed as follows:
1. Hold down [Command] (MacOS) / [Control] (Windows) and press
If you click or drag in the horizontal magnification indicator, the amount of and hold the mouse button in the waveform display.
horizontal zoom changes. Furthermore, the indicator will always show the
current magnification. 2. Drag to make up a selection rectangle.
The area inside the rectangle becomes dark.
The Vertical Magnification Indicator 3. Release the mouse button.
The selected area will now fill the entire window.
If you click or drag in the vertical magnification indicator, the amount of verti-
cal 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
➜ The method of making up a rectangle with the [Command] key (Ma-
Waveform Display
cOS) / [Control] key (Windows), described above, can also be used
in the thumbnail overview. Options
This changes the zoom factor of the main waveform, not of the thumbnail
itself. 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. 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 Scroll Bar the actual audio material is not affected in any way.
The scroll bar can be used to scroll the view of the waveform.
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.

The View Menu The Edit Menu
The View menu features the following items that relate to how the waveform The Edit menu features the following items:
is displayed: • You can use “Copy Loop” to copy the entire loop (i.e. all waveform
data between the left and right locators) to the clipboard.
Magnify to Fit/Magnify to fit Loop • If the clipboard contains data, this can be pasted into a new (auto-
If you select Magnify to Fit from the View menu, the display will zoom out so matically created) document window by using the “Paste as New
that the entire sample fits the window. If Magnify to Fit Loop is selected, the Document” menu item.
display will zoom in (or out) so that the area between the left and right loca- • “Delete” can be used to delete selected slice markers.
tors will fit the window. Select All and Invert Selection are explained on page 57.
Jump to Cursor Undo/Redo

If this is selected, the window will scroll to the current play position, maintain- You may be able to Undo your last action by selecting this menu item or by
ing the current magnification factor. pressing [Command] (MacOS)/[Ctrl] (Windows)-[Z] (the default key com-
mand for Undo). The menu item also gives you a clue about what will be un-
done. For example: If it says “Undo Delete Slice(s)” the last thing you did was
Show Grid deleting a slice.
You must have set a loop length for this item to be available. When enabled, If you wish to “Undo the Undo”, this is possible since after an Undo, this
a grid showing Bars/Beats/16th notes is shown in the display. menu command changes to “Redo”.
The following actions can be undone:
Scroll during Playback
• Move slice
When you play back, the current position is indicated by a dotted line travel- • Delete slice(s)
ling across the waveform. If the option "Scroll during Playback" is checked on
• Hide slice(s)
the View menu, the current position will always be displayed in the waveform
display. This option can also be toggled on or off by pressing [F] on your • Lock slice(s)
computer keyboard. A rectangle in the thumbnail overview indicates which • Insert slice (Pencil tool)
area of the waveform is currently displayed in the waveform display. • Move left/right locator
(All of the above items are described in the chapter “Setting Slices and
Loops”)
• Convert to mono
• Normalize
The thumbnail overview shows you which part of the waveform is displayed.
• Crop Loop
• Convert sample rate
• Re-Analyze
• Preset selection (effects)
(All of the above items are described in the chapter “Processing Audio”)

Context Menu Items Slice Marker Strip
Right-clicking (Windows) or [Ctrl]-clicking (MacOS) in different areas of the

waveform display will bring up context-sensitive menus. The context menus
will contain various items also found on the Edit and View menus, but there
are some additional items that are only available via context menus.
Main Waveform Display
The highlighted area indicates the Marker strip area.

Right-clicking (Windows) or [Ctrl]-clicking (MacOS) in the marker strip (but
not directly on a slice marker handle), brings up a context menu with the fol-
lowing items:
| Menu Item | Description

Select All This will select all slices. See page 57.
The highlighted area indicates the main waveform area. Invert Selection See page 57.
By right-clicking (Windows) or [Ctrl]-clicking (MacOS) in the main area of the
Magnify to Fit/Magnify to Fit See “The View Menu” above.
Waveform display brings up a context menu with the following items:
Loop

Copy Loop See “The Edit Menu” above.
Set Left Locator to This Slice The Left Locator will be placed at the begin-
ning of the slice you clicked on.
Set Right Locator to This Slice The Right Locator will be placed at the end
of the slice you clicked on.
Set Loop Around This Slice The left and right locators will be placed at
the start and end of the slice you clicked on,
respectively.
Jump to Cursor See “The View Menu” above.
Loop
Magnify to Fit Slice This will zoom the display so that a single
slice (the slice you clicked on) will fit the
window.

Slice Handles
Right-clicking (Windows) or [Ctrl]-clicking (MacOS) directly on a slice handle,
brings up a context menu with the following items:

Locked Toggles the “Locked” status on or off for the
slice handle you click on. See page 56.
Hidden Toggles the “Hidden” status on or off for the
slice handle you click on. See page 54.
Delete This will delete any selected slice(s). See
page 58.
Select All This will select all slices. See page 57.
Invert Selection See page 57.
Set Left Locator to This sets the left locator to the slice handle
This Slice you click on.
Set Right Locator to This sets the right locator to the slice han-
This Slice dle you click on.
Loop
Left/Right Locator Area
The highlighted area indicates the Locator area.

By right-clicking (Windows) or [Ctrl]-clicking (MacOS) in the Locator Area,
the “Magnify to Fit/Magnify to Fit Loop” menu items are available.

PLAYING AUDIO
8
Audio Quality Auditioning Slices
ReCycle plays back audio directly from your computer, using the sound ca- There are three methods you can use to audition Slices:
pabilities of your specific computer (see the Installation chapters for more de-
tails). When transferred to a sampler, the sound is reproduced with the ➜ Using the mouse
highest possible fidelity by the sampler. This may or may not be better than When you move the mouse over the waveform area, the pointer turns
your computer’s sound capabilities, depending on your setup. into a speaker icon. When you click with the speaker tool on a Slice (a
section of waveform between two Slice markers), it plays back. Press
[Space] to stop (even if you don’t, playback automatically stops at the
end of the Slice). If you click and drag left or right you can audition con-
Playing the entire Loop secutive slices (dragging to the left will not play slices “backwards”, it only
reverses the order that the slices are played back in).
➜ The “hot-spot” (the part of the pointer that you aim with) is indi-
To play the entire loop, press [Enter] on the numeric keypad or click the Play cated by a cross.
button.
The “hot-spot”.
The Play Button
To stop playback, press [0] on the numeric keypad or click the Stop button. ➜ Using the Slice Audition buttons
The three Slice audition buttons are located to the right beside the Play
and Stop buttons. They have the following respective functionality:
Play previous Slice (and make it the current). By repeatedly click-

The Stop Button ing this button, you can step through the Slices in reverse order
In addition, you can toggle between Play and Stop modes by pressing and audition each one.
[Space].
Play current Slice.
Play Slice and move to next (making the next Slice the current).
By repeatedly clicking this button, you can step through the Slices
from left to right and audition each one.
50 PLAYING AUDIO
The current Slice is indicated in the ReCycle window by a dotted vertical
Slice marker. Preview mode
The Preview function lets you audition the loop exactly as it will sound when
The current Slice transmitted to a sampler, or saved as a file. In Preview mode you can change
the pitch or tempo independently from each other, change the gain of the
loop, add processing and more. Note that all Preview settings will be applied
to the resulting saved file or when transmitted to your sampler!
! To audition non-REX2 files in Preview mode, you have to first spec-

ify the loop length (in Bars and Beats) to calculate the tempo, create
a sufficient amount of slices, before enabling Preview mode. How to
➜ Using the numeric keypad specify loop length and how to set slices is explained in the next
The keys [7], [8] and [9] on the numeric keypad has the same functional- chapter “Setting Slices and Loops”.
ity as the corresponding three Slice audition buttons. Pressing [7] plays
the previous Slice, pressing [8] plays the current Slice and pressing [9]
plays the (current) Slice and moves to the next. Preview Tutorial
! Preview processing features are more fully described in the chapter
Moving the Current Slice without Auditioning “Processing Audio”.
You can also use the numeric keypad to move the current Slice without audi-
tioning: To try out some of the Preview features, use the supplied “Tutorial.rx2” file.
This loop already has correct slice, length and tempo settings, so that you
➜ Press [4] to move the current Slice to the previous Slice. can use Preview mode straight away. Proceed as follows:
➜ Press [6] to move the current Slice to the next Slice. 1. Locate the file “Tutorial.rx2” inside the ReCycle folder, and open it.
The Original Tempo field displays the original tempo of the loop, that was
➜ Press [1] or [2] to move the current Slice to the Left/Right Locator
calculated in ReCycle before it was saved as a REX2 file. The Tempo
respectively.
field displays the current tempo.
2. When the file is loaded, click the Preview button.
The button becomes dark, indicating Preview mode. The previously
“greyed out” parameter knobs on the Toolbar now become active.
The Preview Toggle button.
3. Start playback using the Play button.

➜ Try changing the tempo of the loop using the Tempo knob.
Hold down [Command] (Mac) / [Ctrl] (Win) and click the Tempo knob to
reset the tempo back to the original.
➜ Try changing the pitch of the loop using the Pitch knob.
You can change the pitch up or down two octaves (+/- 24 semitones).
Hold down [Command] (Mac) / [Ctrl] (Win) and click the Tempo knob to
reset the pitch back to the original.
PLAYING AUDIO 51
4. Click the Envelope button, or select “Envelope” from the View
menu.
The Envelope panel appears below the main toolbar. Envelope allows
you to adjust three parameters; Attack, Decay and Stretch (see the chap-
ter “Processing Audio” for a full description of the Envelope parameters).
This particular file was saved with non-default Attack and Decay param-
eter settings, which means that the Envelope effect is already turned on.
This is indicated by the darkened and lit On/Off button (the leftmost but-
ton on the panel).
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 dis-
cernible 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 ana-
lyzes the existing tail of each slice, and then lengthens it. This feature is
used if you wish to lower the tempo of a loop.
➜ There are two other effect processors which can be applied in Pre-
view 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 trans-
mitted to your sampler!
52 PLAYING AUDIO
SETTING SLICES AND LOOPS
9
Using Sensitivity Using the Hide tool
Most of the time when working with ReCycle, you will want to cut your loop You might run into situations where there are too many slices on the screen.
up into slices. A slice is a section of the waveform, from one slice marker to You could of course reduce the Sensitivity to get rid of the slice markers you
the next. don’t 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 in-
dividual 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 disap-
A slice marker
pears.
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 trans-
Before and after Hiding a slice marker.
mit it. For more information, see page 59.
The number to the right of the slider represents the current position of the To try the effect of hiding, proceed as follows:
slider, where 0 represents minimum sensitivity and 99 maximum sensitivity. 1. Click on two adjacent slices which play one sound each.
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 don’t need (see later in this chapter for de-
tails on the Hide Tool).
Setting Sensitivity using the Keyboard

➜ You can type a number on the typewriter part of the keyboard, di-
rectly.
This can be used to quickly give the slider a rough setting. If you hit “1” it
gets set to “11", if you press “2” it gets set to “22” etc.
2. Hide the marker that divides the two slices.
➜ You can use the [+] and [–] keys to “nudge” the slider up and down.
About Stereo and Mono

For stereo files, ReCycle analyzes both channels for slice points. In all re-
spects, the methods you can use and other considerations are the same re-
gardless whether the audio is in stereo or mono.
Slices always cut across both channels at the same position in the wave-
form, they are not channel independent.
54 SETTING SLICES AND LOOPS

3. Click again to audition. When do I use the Hide tool?
You will hear that what was previously two slices is now one.
Use the Hide tool when you have a situation like the one below:
Hiding several Slices at the same Time

This slice is probably not
If you have several slices selected (see below) they will all get hidden when wanted.
you click on one of them.
In the example above, the Sensitivity slider had to be set to a fairly high value
to get the number of slices you see. But raising Sensitivity led to one un-
wanted slice, splitting a sound in two. Hiding is the solution.
Clicking on one of the selected slices...
After Hiding the unwanted slice.
How do I find unwanted Slices?

Our most important tip is this: Always audition each slice to hear what they
actually play. Try stepping through the loop with the “Play Slice and Move to
Next” button, and adjust the Slices until you hear them the way you want
them.
... hides all of them. Another good practice is to increase magnification slightly and scroll through
the slices to look for sounds that have been split unnecessarily.
Bringing back Hidden Slices For optimal results, combine the two techniques above.
To “re-activate” a hidden Slice, simply click on it again with the Hide tool.
SETTING SLICES AND LOOPS 55

Using the Lock Tool Unlocking Slices
To unlock a locked Slice, simply click on it again with the Lock tool.
The Lock tool is essentially the opposite of the Hide tool. If you lock a slice,
by clicking on its marker with the Lock tool, it will stay even if you drag the
Sensitivity slider all the way to zero. When do I use the Lock tool?
If you got a good set of slices by just using the Sensitivity slider, but discover
that in one or two places you hear two sounds when you click on a slice, then
it is time to bring out the Lock tool.
1. Find the place where you hear two sounds when auditioning.
2. Make a mental note of the current slider setting.
3. Set the sensitivity slider to a higher value to get a slice between the
two sounds.
4. Audition to make sure you got what you wanted.
If a slice is locked...
5. Lock the new slice.
6. Drag the sensitivity slider to the original setting.
...it will stay even if you set Sensitivity to zero.
Locking several Slices at the same time

If you have several slices selected (see below) they will all get locked when
you click on one of them.
Clicking on one of the selected slices... ...locks all of them.

Selecting Slice Markers Manual Slice Handling
Slice markers need to be selected for some operations, like Silence Selected It is possible to add new, to move, and to delete slice markers manually.
(see page 71 and page 84), or when moving and deleting slices (see “Man-
ual Slice Handling” in this chapter): ! Before adding or moving slices manually, make absolutely sure the
slices found by the analyze algorithm don’t suffice. The program is
➜ Selecting is done with the Arrow Tool.
very good at finding slice points, and the points found by the pro-
You can have the Pencil Tool selected, but this automatically changes to
gram often work better – for example for tempo changes – than the
the Arrow tool if you point in the Marker strip.
ones that you can find manually.
➜ You can select one marker by clicking on its triangle symbol.
➜ If you hold down [Shift], you can click on more markers to select Adding a new slice
them. Clicking again with [Shift] pressed deselects a marker.
1. Identify the area where you need a slice, and zoom in very close on
it.
2. Select the Pencil Tool.
3. Move the pointer over the waveform display.
A vertical line moves across the waveform. This line indicates where the
slice will appear when you click. The line snaps to zero crossings in the
Selected and unselected markers. waveform (positions where the amplitude is close to zero), so manually
➜ You can make up a selection rectangle by pointing between slices added slices won’t introduce any clicks or pops. If the amplitude is zero
in the Marker strip, pressing the mouse button and dragging left or for a period of time, the line will move continuously over this area.
right. When you release the mouse button, all the slices inside the
rectangle will get selected.
Making up a rectangle like this... ...selects these markers.
➜ You can use the Select All item on the Edit menu to select all mark- The vertical line snaps to zero crossings.
ers. 4. When you have found the correct position, click with the Pencil tool.
➜ If you have a selection of markers, you can invert the selection by The slice appears.
using “Invert Selection”, also on the Edit menu. The following rules apply to manually added slices:
After this operation, the markers that were previously selected are now
deselected, and vice versa. This is mainly useful together with Silence • Manually added slices are locked. They will therefore not disappear
Selected, see page 71 and page 84. 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”
➜ To deselect all markers, click between two markers on the ruler.

Adding a Slice at any position Where do I place the Slice?
➜ If you hold down [Option] (MacOS) / [Alt] (Windows), the snap to Zoom in far enough for the display to clearly show how the cursor jumps be-
zero crossing is disabled and you can add a slice at any position. tween zero crossings. Try to find the first position before the beginning of the
We do not recommend that you do this unless you have very good rea- sound. This applies both when adding and moving slices.
son, since it can introduce clicks and pops in the sound during playback.
Deleting Slices
Moving a slice marker It is possible to permanently delete slice markers. Note that unless you are
You can move a slice marker manually, even if it is locked (hidden slice 100% certain that you won’t need a slice, especially in case of slices de-
markers cannot be moved). tected by the slicing algorithm, it is generally better practice to hide it using
1. Make sure the Arrow or Pencil Tool is selected. the Hide Tool.
2. Select the existing slice marker that you wish to move. ➜ To delete one or more slice markers, select it/them and press [Back-
space] or [Delete], or select Delete from the Edit menu.
➜ Place it in the proximity where you want to move it to by dragging
the slice marker. ! Deleted slices that were originally ”discovered” by the slicing algo-
As you drag, the vertical line of the slice marker is superimposed across rithm can be made to appear again by using Re-Analyze (see page
the waveform. This line indicates where the slice will be placed when you 67).
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 won’t 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 but-
ton.
! Only one slice marker at a time can be moved.
Moving a slice marker to any position

➜ 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 rea-
son, since it can introduce clicks and pops in the sound during playback.
When do I add/move Slices manually?

As described above, we suggest you only add or move slices manually when
the program fails to find one at a position where you need it. In other words,
you will need to add/move a slice manually when you click on a slice and
hear two sounds, one after the other, even though the Sensitivity slider is set
to 99.

How many Slices do I Left and Right Locator —
need? Setting the Loop
Well, it depends...
By dragging
• If you plan to edit the loop a lot in your MIDI sequencer, you should
try to get one slice per sound in the loop, or in some situations (very The left and right Locators can be dragged to set the Loop during playback.
busy sections for example), one slice per eighth note or sixteenth ➜ If you have no slices at all (if the Sensitivity slider is all the way to
note (to simplify editing in the sequencer). the left), the Locators can be positioned freely.
• If you want to create a groove, you should try to get approximately
one slice per eighth note, sixteenth note or whatever the loop re- ➜ If there are any slices visible, the Locators snap to the lines.
quires.
➜ If you want to position the Locators freely, even though you have
• If your main reason for slicing the loop is to change the tempo and/ slices, hold down [Option] (MacOS) / [Alt] (Win) while dragging a Lo-
or pitch, you generally need as many slices as you can get, but cator.
never more than one per individual sound in the loop. This is to re-
tain the “integrity” of each sound when played back from the se-
quencer. By clicking
➜ To set the Left Locator, hold down [Shift] and click on the ruler.
! Please remember that your ears are always the best judge. Careful
auditioning is vital for finding a good selection of slices. ➜ To set the Right Locator, instead hold down [Command] (MacOS) /
[Control] (Win) and click.
➜ Normally, the positions snap to the closest slice point, but if you
also hold down [Option] (MacOS) / [Alt] (Win) when you click, you
can set the Locator at any point.
Use the Slices when setting Loop Points!

When trying to find a good loop point, use snap to slices if at all possible. If
you can’t seem to get a good loop point that way, try raising the Sensitivity
slider to get more slices and try again.
When – and only when – you can’t find a good loop point in this way, zoom in
and adjust the Loop positions with [Option] (MacOS) / [Alt] (Win) pressed.
What are the Locators used for?

The Locators are of course used to define the loop you get during playback.
But they also have other purposes:
• ReCycle uses the Locator positions when calculating the original
tempo of the Loop.
• When transmitting audio to the sampler, saving to file etc., only the
part between the Locators is actually sent.
• When you create MIDI files, only the section between the Locators
is taken into consideration, as with the saved audio above.

Tempo, Time Signature,
Bars and Beats
Many of the operations in ReCycle require you to specify how long the loop
between the Locators actually is, meter-wise. This information is then used
to calculate the tempo of the loop.
Time Signature
The Sign pop-up menu allows you to choose between a few of the more
common Time Signatures. If none of them fit your purpose, you can still “as-
semble” a correct Time Signature using the Bars and Beats settings, see be-
low.
Bars and Beats

The Bars field and Beats pop-up are used to specify the length of the loop.
Let’s explain this by example:
| Actual Loop Length | Set “Bars” to: | Set “Beats” to:

One bar 1 0
Two bars 2 0
Half a bar in 4/4 0 2
One and a half bar in 6/8 1 3
As stated above, you can use Bars and Beats to “create” some unusual Time
Signatures:
| Actual Loop Length | Time Signature | Bars | Beats

Two bars in 7/4 4/4 3 2
One bar in 9/8 6/8 1 3
Original Tempo
When the Left and Right Locators are set, and the correct Time Signature
and loop Length (Bars and Beats) has been specified, this area will show the
calculated original tempo of the loop.

PROCESSING AUDIO
10
About the Effects Activating Effects
Effects can be active regardless of whether the panel is visible or not. There
ReCycle features three effect processors, Envelope, Equalizer, and Tran- are two ways you can activate effects:
sient Shaper, that can be used to further manipulate audio loops. ➜ By clicking on the Effect On/Off button on an open panel.
➜ All effects are applied globally, i.e. they will affect all slices equally When an effect is on (activated), the On/Off button becomes dark, and a
in a loop. green light is shown in the effect button for the corresponding effect.
➜ To be able to apply the effects, Preview mode must be activated.

To activate Preview mode for a file you must first set up the left and right
locators, specify the length and time signature of the loop and create a
sufficient number of slices (see the previous chapter). You could also
load REX2 (ReCycle’s native file format) files for further processing of Effect On/Off button.
course, in which case these settings have already been made and you
can apply effects in Preview mode directly. ➜ By holding down [Option] (Mac) / [Alt] (Win) and clicking on an ef-
fect button you can toggle the effect on and off.
➜ The principle “what you hear is what you get” applies when you ap-
ply effects, like with all the other Preview mode functions. About the Presets
Open the Effect Panels For each Effect there are a number of preset settings available.
➜ To select a Preset, click on the Preset button beside the Effect On/
A green light is shown in the Effect button if the Off button.
corresponding effect is activated.
A pop-up menu appears with the available Presets listed.
The three Effect buttons (from left to right); Envelope, Transient Shaper and
Equalizer.
The three Effects each have their own panel, containing the parameters. By The Effect Presets button.
clicking on one of the effect buttons located to the left of the transport con-
trols on the Toolbar, the corresponding panel is shown below the toolbar. ! It is not possible to store user presets.
You can also open the effect panels from the View menu.
➜ The top to bottom order of the Effect panels also reflects the inter- About the Parameter Controls
nal signal path of the effects.
If all are activated, Envelope is always the first effect in the signal path, For all effect parameter controls, the following applies:
the Transient Shaper is the second, and Equalizer is the last.
➜ [Shift]-clicking a parameter increases the resolution of the adjust-
able range.
Use this for a finer tuning range.
➜ [Ctrl]-clicking (Win) / [Command]-clicking (Mac) a parameter resets
The three effect panels. the parameter to the default value.
62 PROCESSING AUDIO
Effect Parameters ! Please note that the attack of the sound is not affected in any way.
Envelope The Amount of Stretch

The Stretch knob is used to set the amount of stretch as a percentage value.
The percentage values tell you how much longer the entire sample will be af-
ter stretching. If you select the largest value (100%), for example, the slice
will become twice its original length when transmitted to the sampler.
To open the Envelope processor, click on the Envelope button, or select En-
velope from the View menu. ➜ To decide how much stretch you need, lower the Preview tempo by
the same amount as you intend to use, and adjust the Stretch pa-
The Envelope Attack and Decay parameters govern how the volume of a
rameter as necessary.
slice should change over time, from the time it is triggered (the slice note
If there is a discernible gap of silence between slices you should raise the
starts) until the slice note ends. This can be used to make a loop more dis-
Stretch setting.
tinct (by having a snappy attack and a short decay time) or more spaced-out
(by raising the attack time). Short attacks can also be used to mask out clicks
that may occur with certain types of loops, when played back with a different ! Note that Stretch is not Time Stretch! The Stretch feature doesn't
tempo than the original. lengthen the whole slice, it only adds a portion of sound to the end
of it.
The Envelope panel also features a third parameter; “Stretch”, which is de-
scribed separately below.
Stretch and the old REX Formats
➜ The Attack parameter determines the attack length (in milliseconds)
for each slice. You should be aware of the fact that REX (as opposed to REX2) files can
The higher the setting, the slower the attack. Parameter range is 0 - 0.5 contain certain settings that are irreversible. For example, if stretch was ap-
s. plied when the file was saved, the stretching is part of the actual REX file and
cannot be removed. It is possible, however, to apply more stretch, which
➜ The Decay parameter controls the length of the end portion (tail) of
may or may not be what you want.
each slice.
The more the knob is turned anti-clockwise, the shorter the decay. ➜ For REX files it is therefore advisable to try lowering the tempo in
Range is 27ms - Infinite (=full decay). Preview mode first, to see if you actually need to apply Stretch.
REX2 files however, only contain the actual audio and the slices, the rest
Stretch (effects, stretch setting etc.) is added when the file is loaded and can be
changed at any time.
This feature is used when you know you might want to lower the tempo of the
loop in your MIDI sequencer.
How Stretch works

When you slice up a loop and play it back from your sequencer, each sample
will play in succession. At the original tempo, one slice will end exactly where
another starts.
As you understand, when you then lower the tempo, there will be small gaps
between the slices, which disrupts the flow of the audio.
Stretch is used to add an extra tail of audio to each slice, to lengthen it. This
is derived from the natural decay of the sound. This extra tail of sound then
fills out the gap between the slices when the tempo is lowered.
PROCESSING AUDIO 63
Transient Shaper | Parameter | Description
Release When the signal level drops below the set threshold, this de-
termines how long it takes before the compressor lets the
sound through unaffected. Set this to short values for in-
Transient Shaper parameters... tense, “pumping” compressor effects, or to longer values for
a smoother change of the dynamics. The range is 13 ms to
1.4 s.
Gain meter This shows the amount of gain reduction or increase (in dB),
...and the Gain meter. caused by the combined compression and gain compensa-
The Transient Shaper is a type of attack/release envelope control, which pro- tion.
duces a result that could be likened to compression. Compressors level out
the audio, by making loud sounds softer and vice versa. The result is that the
levels become more even and individual sounds can get more power and
“punch”.
• “Normal” compressors are activated by peaks and volume changes
in the actual audio. The Transient Shaper is instead activated by the
individual slices in the loop.
Regardless of method, if you have ever used a compressor, you will find that
the Transient Shaper will affect the sound in a similar way. It is, however, im-
portant to be aware of this difference, as the Transient Shaper won’t work as
intended unless the file contains slices!
To compensate for the volume loss that can be caused by this effect, the
Transient Shaper has automatic gain compensation, that raises the overall
level by a suitable amount. The parameters are as follows:
| Parameter | Description
Threshold This is the threshold level above which the effect sets in. Af-
ter the initial slice attack, signals with levels above the
threshold will be affected, signals below it will not.
In practice, this means that the lower the Threshold setting,
the more the signal will be affected by the Transient Shaper.
The range is -6 to -40 dB.
Amount This lets you specify the amount of gain reduction applied to
the signals above the set threshold. The range is 0 to 99.
Attack This governs how quickly the compressor will apply its effect
when signals rise above the set threshold. If you raise this
value, the response will be slower, allowing more of the sig-
nal to pass through the compressor unaffected. Typically,
this is used for preserving the attacks of the sounds. The
range is 0 to 91 ms.
64 PROCESSING AUDIO
Equalizer | Parameter | Description
Hi Cut A lowpass filter allowing you to set the upper limit
of the overall frequency range. You can progres-
sively cut frequencies from 20 kHz down to 100
The main Equalizer parameters. Hz.
Lo Cut and Hi Cut parameters.

The Equalizer allows you to cut or boost selected frequencies to shape the
overall sound quality. To open the Equalizer panel, click on the Equalizer
button or select it on the View menu. The parameters are as follows:
| Parameter | Description
Lo Cut A highpass filter allowing you to set the lower
limit of the overall frequency range. You can pro-
gressively cut frequencies from 15 Hz up to 12
kHz.
Low Frequency The center frequency for the low-end equaliza-
tion. Around this frequency, the sound will be
boosted or cut according to the Low Gain setting.
The available frequency range is 20 Hz to 3 kHz.
Low Gain Governs the amount of boost or cut around the
set frequency. The range is ± 18dB.
Low Q Determines the width of the frequency band
around the center frequency to be affected. The
narrower frequency band, the more drastic effect
of the boost or cut. Range is 0.5 to 10.
High Frequency The center frequency for the high-end equaliza-
tion. Around this frequency, the sound will be
boosted or cut according to the High Gain set-
ting. The available frequency range is 1.5 kHz to
16 kHz.
High Gain Governs the amount of boost or cut around the
set frequency. The range is ± 18dB.
High Q Determines the width of the frequency band
around the center frequency to be affected. The
higher the Q setting is, the narrower the fre-
quency band will be, and this will cause a more
drastic effect of the boost or cut. Range is 0.5 to
10.
PROCESSING AUDIO 65
The Process Menu Convert to Mono
This Process menu item will convert stereo files to mono. It is only selectable
In addition to the three Effect processors, there are several other “offline” for stereo files.
(non-realtime) audio processing functions available on the Process menu. ➜ When this item is selected, a dialog appears asking which chan-
You do not have to use Preview mode to apply offline processing. The Pro- nel(s) you wish to use as the basis for the converted file.
cess menu items are as follows: The options are Left, Right or a mix of both Left and Right channels.
• Normalize
• Convert to Mono
• Convert Sample Rate
• Crop Loop
• Remove DC
• Re-Analyze
! All offline processing is undoable, but remember that if you do not

choose to undo, the processing becomes irreversible after the next
undoable action is performed. You will not permanently alter the file
until it is saved, however. Convert Sample Rate
This item allows you to convert the sample rate of a file. Lowering the sample
Normalize rate will make the samples occupy less memory in the sampler and will make
Normalize will change the gain to ensure maximum level. files smaller, but it will also lower the fidelity of the recording (less high fre-
quency material will be present).
➜ When Normalize is selected on the Process menu, a dialog box ap-
On the other hand, increasing the sample rate will not raise the fidelity of the
pears asking if you want to Normalize the whole file or each slice.
sample in any way. It is therefore not recommended to convert from a low
Normally, you will select “Whole File”. If you select “Each Slice”, and the
rate to a higher one, unless it is required by the application.
selected file is a rhythmic loop, the normalizing will disrupt the inherent
dynamics of the loop, since the gain of each slice will be changed to more Selecting this menu item brings up a dialog box. This shows the file’s current
or less equal level. sample rate, and the sample rates you can convert to.
➜ Normalizing each slice can be useful when you use ReCycle to pro-
cess individual sounds that don’t belong to a loop.
! Normalize can’t do miracles. If your recording contains unwanted

noise, normalizing will increase the noise level together with the
other audio material.
66 PROCESSING AUDIO
Crop Loop
➜ Crop Loop allows you to trim files, by removing all audio data out-
Additional Processing
side the left and right locators.
If you have set up a perfect loop with the locators, and the file contains Items
audio outside this locator range you can use Crop Loop to remove this
superfluous data. There are a number of additional real-time processing items available on the
Toolbar (Preview mode must be activated):
Remove DC
Processing Gain
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 off-
set 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 pro- This function allows you to change the gain (volume) of the loop. The applied
cessing functions such as Re-Analyze and Normalize. 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
Re-Analyze changes introduced by other processing items, like equalization for example.
Re-Analyze re-runs the slice-detection algorithm on the waveform data. You ➜ You can boost the gain by up to 18 dB, or lower it down to silence
may have deleted slices that were detected when the file was first sliced. (-80 dB).
This command will ”re-discover” those slices. 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
➜ Re-Analyze will add all slices that lies on a position in the file not al- listen carefully to see if it sounds o.k (a slight amount of clipping on per-
ready occupied by a slice. cussive material is not necessarily even noticeable). The final judge
Note that the added slices may not be visible, as this depends on the should always be your ears!
Sensitivity setting!
PROCESSING AUDIO 67
Gate Sensitivity
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:
➜ It can be used to remove part of a file that contains silence, for ex-
ample in conjunction with Silence Selected (see page 71).
By removing “silent data”, the size of the transmitted/exported data is re-
duced.
➜ It can be used if you have a file with several individual sounds con-
taining “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.
➜ It can be used for special effects - abruptly chopping off a reverb tail
for example.
Preview Pitch
You can change the pitch of a loop up or down two octaves (+/- 24 semi-
tones). Hold down [Command] (Mac) / [Ctrl] (Win) and click the Pitch knob to
reset the pitch back to original. Hold down [Shift] for adjusting values in finer
increments.
Preview Tempo
You can change the tempo of the loop. Tempo values between 20 to 450
BPM can be set using the Tempo knob or by typing directly in the Tempo box
and pressing [Enter].
Hold down [Command] (Mac) / [Ctrl] (Win) and click the Tempo knob to reset
the tempo back to the original. Hold down [Shift] for adjusting values in finer
increments.
68 PROCESSING AUDIO
TRANSMIT AND SAMPLER OPTIONS
11
Selecting a Sampler to Transmit Options
Transmit to On the Process menu, you will find two Transmit settings (or “options”);
”Transmit as One Sample” and “Silence Selected”. These options can also
be toggled on or off using the two Transmit Option buttons on the Toolbar:
To route the Receive and Transmit functions to a particular sampler, select it
from lower section of the Sampler menu. If your sampler is not on the menu Transmit as One Sample Silence Selected
you must add it in the Sampler Settings dialog, see page 30.
! For file-based samplers such as SampleCell and for the Akai S5000/
6000 sampler series you do not use the Transmit dialog, but the Ex-
port dialog on the File menu. See the Sampler and File Reference
pdf manual for details. ➜ Transmit as One Sample has no effect on playback in ReCycle. Si-
lence Selected, however, can be auditioned in Preview mode.
➜ Each document has its own settings.
If you are working with a lot of windows, be sure to check that the settings
are correct before you Transmit. The settings are also saved to disk with
the file when you Save.
An Akai S3000 selected.
You can have several samplers connected, either of different types or of the Transmit as One Sample
same type, but only one at a time can be selected.
You can switch samplers while you are working with the program, which al- Deactivated
lows you for example to Receive a sound from one sampler and Transmit it
to another. When Transmit As One Sample is turned off, the audio gets sliced into indi-
vidual samples when transmitted, and the MIDI files created will contain one
note for each of those slices.
Transmit and Memory ! This is the preferred mode if you want to use your MIDI sequencer
to edit the loop, change its tempo or use the MIDI file as a groove.
The program needs free memory in the computer for Transmitting. In a worst
case scenario (with Stretch set to 100%) it needs twice the memory of the Activated
longest slice. This means that if you have “Transmit As One Sample” turned
on and use high Stretch factors, you need to make sure you have enough When Transmit As One Sample is turned on, the program will transmit the
memory left when you Transmit. part that stretches from the Left Locator to the Right as one sample. Also, in
this mode, the MIDI File will only consist of one event, with the length set us-
For more information, see page 14 (MacOS only) and page 36. ing the Bars and Beats settings.
70 TRANSMIT AND SAMPLER OPTIONS

When should Transmit as one Sample be Activated?
One obvious application of transmitting as one sample (as opposed to sepa-
The Transmit dialog
rate slices) is when you simply want to change the properties (like pitch and/
The top menu item on the Sampler menu changes name depending on
or tempo) of an audio file without otherwise changing it. Say you have an au-
which sampler you have selected (“Transmit to...”).
dio file (Wave, Aiff etc.) that you wish to use in a song. The problem is that
the tempo and/or the pitch of the file is wrong for the song, and you wish to fix
this. The solution is to open the file in ReCycle, then slice it up and set the
! For other formats (see the online Sampler and File Format Refer-
length of the loop using the normal techniques. Enter Preview mode, set the ence document) for which the program saves audio files on your
new tempo and/or pitch, and lastly export the file in it’s original format but computer’s hard disk, you do not use the Sampler menu. You in-
with a new tempo and/or pitch etc. A step by step example of exporting to file stead use the Export dialog on the File menu (see page 76).
can be found on page 28.
There are three ways you can execute Transmit:
Transmit as One Sample can also be used in conjunction with Silence Se-
lected to separate sounds from a loop (see below and on page 84). ➜ By clicking the Transmit button.
Silence Selected
When this function is activated, the slices that have selected markers will be
The Transmit button.
silenced when transmitted or exported. Preview mode has to be activated for
Silence Selected to be available. ➜ By pressing [Command]+[T] (MacOS) or [Ctrl]+[T] (Windows).
➜ By selecting “Transmit to...” from the Sampler menu.
The Sampler menu when an Akai S3000 is selected.

When Silence Selected is turned on, the slices which have selected markers...
...will be replaced by silence.

This feature is probably best used when Transmit As One Sample is turned
on, to silence individual sounds in a longer sample. An application of this is
found on page 84. It can also be used to simply skip unwanted sounds, when The A3000 Transmit dialog.
slicing. Exactly how the dialog looks depends on the selected Sampler, but there are
a few standard items you will most often find there:
But, Silence Selected works even if Transmit As One Sample is turned off. In
this case, the selected slices will simply be skipped, both when transmitting
to the sampler and when creating MIDI Files. You can use the Gate Sensitiv-
ity parameter (see page 68) in combination with this feature to remove the si-
lenced portions of the loop.
TRANSMIT AND SAMPLER OPTIONS 71

Program Name When is sample rate conversion performed?
Using this field you can specify a name for the Programs you are about to If you transmit, and the sample rate set in the Transmit dialog is not the same
create in the sampler. as shown on the Status Bar (the sample’s inherent rate), a sample rate con-
version will be performed during the transmission.
• You can specify the name directly in the dialog. You will only be
able to type in characters supported by the sampler, and the name
will be truncated to fit the length of the names in the specific sam- When should I change from the suggested sample rate?
pler.
Lowering the sample rate will make the samples occupy less memory in the
• The actual slices that the Program contains will get names derived sampler, but it will also lower the fidelity of the recording (less high frequency
from the Program name, with a number added at the end. For exam- material will be present).
ple BigDrums#01, BigDrums#02, etc.
On the other hand, increasing the sample rate will not raise the fidelity of the
sample in any way. It is therefore not recommended to convert from a low
Sample rate rate to a higher one, unless it is required by the sampler.
ReCycle can handle samples with any sample rate and can convert samples
from any rate to any other. ! You can also convert sample rate using offline processing (see
page 66).
Status Bar shows inherent rate
When you Open or Receive a sample, its inherent sample rate is displayed in Templates
the Status Bar at the bottom of the ReCycle application window (Windows) When ReCycle sends audio to your sampler it will put the samples it creates
or at the bottom of the screen (MacOS). in a “container” which holds all the samples and their mapping on the key-
board. This “container” may be called a Program, Instrument, Patch or simi-
lar, all dependent on the naming used by the sampler manufacturer. For
now, let’s call it a Program.
A sample recorded at 44.1 kHz.
There are a number of settings in the Program which may or may not be of
Available rates importance to you.
• If the settings are not important to you, you don’t need to use tem-
In the transmit dialog, a number of sample rates can be selected from a pop- plates, you should use the Default option in the Transmit dialog. Re-
up. Exactly what options are available depends on the selected sampler. Cycle will then create as simple a Program as possible. You can
➜ If possible, the sample’s inherent rate is suggested. then change this Program’s settings by using the controls on the
If, for example, the sample was recorded at 48 kHz, this will be the sug- sampler itself.
gested sample rate in the Transmit dialog. • If you do need special settings, you use Templates. You might for
example want the first slice to appear on a certain key, you might
➜ If the sample’s inherent rate is not supported by the sampler, the want to have all samples play to a certain output, you may want the
next higher rate is suggested. Program to receive on a certain MIDI Channel etc. Proceed as fol-
➜ In addition to the above, a number of other sample rates can be se- lows:
lected from the pop-up in the Transmit dialog. 1. On the sampler, manually create a Program with the desired set-
If the sampler only handles a few sample rates, they can all be selected. tings.
If the sampler supports many rates, the most commonly used ones (or Make sure the first sample in the Program’s keyboard map is positioned
the ones closest to these) are available. Those most common rates are where you want the first sample in the keyboard map created by ReCy-
11.025 kHz, 22.05 kHz, 32 kHz, 44.1 kHz and 48 kHz. cle.
2. Save this Program to disk (using the sampler’s regular file saving
functions), for later use, but make sure it still resides in the sam-
pler’s internal memory.

3. In the ReCycle Transmit dialog, select this program on the Template
pop-up.
Exactly how this is done depends on the sampler. If it is external you can
select the Program from a pop-up menu in the dialog. If ReCycle saves
the data on to your computer’s hard disk, then you select a disk file as
your template.
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, with-
out creating any MIDI File.
MIDI File + Transmit

This button will make two things happen:
➜ Programs and samples are created as described above.
➜ A file dialog appears, which allows you to create a MIDI File on your
computer’s disk.
This resulting file should be used in your sequencer, to play the loop in
the sampler.
TRANSMIT AND SAMPLER OPTIONS 73

SAVING AND EXPORTING
12
Saving ReCycle Exporting Files
Documents The Export Sound dialog is opened by selecting “Export...” on the File menu,
or by clicking the Export Sound button.
If you have opened an audio file and worked on the slices and other settings,
you can save it as a ReCycle (REX2) document.
➜ Saving is done using the regular “Save” and “Save As” commands.
➜ 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 anal-
ysis data is already included in the file.
➜ ReCycle files have the extension “.rx2”.
➜ 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 Export Sound is similar to the normal Save dialog, but contains a few ex-
tra items. The Export dialog is used if you want to save your files for internal
samplers and other formats (see the online Sampler and File Format Refer-
ences document) for which the program saves audio files on your computer’s
hard disk.
It can also be used to change the inherent properties of a sound file. You
could for example load a Wave file, change the file’s tempo and export it as
a new Wave file.
76 SAVING AND EXPORTING

File Formats | Name | Ext. | Comment
The File Format pop-up is where you select the file format you wish to export Sample Cell Instru- INS Digidesign’s SampleCell is a PCI based
the file as. The following file formats are supported: ment File sampler card/software editor for both the
MacOS and Windows platforms. ReCycle
exports an Instrument file plus one or sev-
| Name | Ext. | Comment
eral sound files, with one slice in each file,
Standard MIDI File MID Allows you to export a MIDI file (see page depending on the “Transmit as One Sam-
78 for details). ple” setting on the Process menu. ReCy-
Wave WAV The standard Microsoft file format for au- cle’s Export settings for Sample Cell
dio. Exports one or several files, with one supports templates, see page 72. Cre-
slice in each file, depending on the ates AIFF or SD II files (MacOS) or Wave
“Transmit as One Sample” setting on the files (Windows). See the Sampler and
Process menu. File Format Reference documentation for
details.
Audio IFF AIF Audio Interchange File Format; Apple’s
(AIFF) standard audio file format. Exports one or SoundFonts 2 SF2 SoundFont is a file format for storing
several files, with one slice in each file, Banks wavetable synthesized sounds. Effec-
depending on the “Transmit as One Sam- tively, this turns an ordinary sound card
ple” setting on the Process menu. into a sampler. Creates a single file when
exported. See the Sampler and File For-
Sound Designer II SD2 The current Digidesign file format. Ex- mat Reference documentation for details.
(MacOS only) ports one or several files, with one slice in
each file, depending on the “Transmit as Akai S5000/S6000 AKP Exports a program file together with one
One Sample” setting on the Process Program Files or several Wave files, with one slice in
menu. each file, depending on the “Transmit as
One Sample” setting on the Process
Mixman Track File TRK Mixman TRK (for “Track”) files are the menu. AKP files are program files for the
building blocks in the Mixman Studio and Akai S5000/S6000 series of samplers.
Mixman Studio Pro applications. To facili- See the Sampler and File Format Refer-
tate tempo-matching, the Mixman TRK ence documentation for details.
files contain “slices” internally (somewhat
like ReCycle files). A single file is created.
If the exported document is a stereo file,
an alert box will appear informing you that
the output will be mixed to mono, since
Mixman files are always mono. See the
Sampler and File Format Reference doc-
umentation for details.
SAVING AND EXPORTING 77

Export Settings 5. Switch over to Cubase VST.
You need version 5 or later (same for both the Mac and Windows plat-
forms) to be able to import REX2 files.
6. Select an Audio Track where you want to import the file and set the
Left Locator at the position where you want the file to appear.
Depending on the type and complexity of the audio, you may want to set
the Audio Track to channel “Any”. See the Cubase VST documentation
for details.
7. Select “Import ReCycle file”, from the File menu.
8. Locate the ReCycle export file you just saved, and open it.
Now the following happens:
Selecting Save in the Export dialog brings up the Export Settings dialog. This • The file is added to the Pool.
contains the following options: • A number of Segments are created for the file, each one corre-
sponding to a slice in Recycle.
➜ A Sample Rate pop-up allows you to change the sample rate when
Exporting. • A Part which will play these Segments is automatically created on
Supported sample rates depend on the File Format selected. Only sup- the active Track, starting at the Left Locator position.
ported rates are selectable. Now you can play back the ReCycled file in any tempo, as if using a sam-
pler. You can also edit it in detail, quantize, etc.
➜ An “Export MIDI File with Same Name” tickbox.
When checked, a MIDI file with the specified name, plus the extension ➜ If you need to re-import the file into the Arrangement, drag the file
”.MID” will be generated together with the exported file. item from the Pool to the Arrangement, just as any other file.
A new Part is then created.
! The above options are not available for Standard MIDI files or Mix-
man TRK files. Also, the SampleCell format has additional options
! There are a number of additional factors to be aware of when using
(see table). REX2 files in Cubase VST. See the Cubase manual for details!
Using REX2 files in Cubase VST Exporting MIDI Files

To ReCycle a file for use in Steinberg Cubase VST (version 5.0 or later) or There are three ways to create MIDI Files with ReCycle:
other programs capable of reading REX2 files, proceed as follows: ➜ By selecting MIDI file+Transmit in the Transmit dialog.
➜ By selecting Export from the File menu and then selecting “Stan-
! This text describes how to use REX2 files with Cubase VST. If you
dard MIDI File” as the File Format in the dialog.
are using another REX2-compatible program, see its documenta-
This is used if you wish to create a groove template.
tion for details.
➜ By selecting Export from the File menu and then ticking the “Export
1. Locate the file on disk and open it in ReCycle. MIDI File with Same Name” option in the Export Settings dialog.
This can be a file recorded in Cubase, or a file of any other origin. Normally you will create MIDI Files as a part of the transmission process (by
2. Set up the slices, length, time signature, and use Preview mode to clicking “MIDI File+Transmit” in the Transmit dialog). But if you only want to
apply effects or change tempo or pitch, as desired. create a MIDI File (for example when using ReCycle to create “groove
Remember that “what you hear is what you get” in the resulting REX2 file maps”), use the Export dialog and save as a Standard MIDI File.
when using Preview mode. In either case you are prompted with a regular File dialog where you can
specify a name and location for the file.
3. Select “Save”, from the File menu.
ReCycle always creates MIDI Files of type 1. However, they only contain one
4. Specify a location and name for the file and save it. 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 re-
create 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.
SAVING AND EXPORTING 79

EXAMPLE APPLICATIONS
13
Which Samples will work? The Simple Trim
All. But although ReCycle does a very intelligent analysis of the sample to The most basic thing you can do with ReCycle is to set a good loop point for
find the individual “hits” or “sounds” in it, the sample has to meet some basic a sample and then transmit it to the Sampler. or export it as a file, without any
criteria to enable the automatic algorithm to find all the individual sounds: slicing or processing.
• Each sound in the sample must have some kind of perceivable at- 1. Open or Receive the sample.
tack. You will for example run into problems with legato playing on
a flute. 2. Raise the Sensitivity until a large number of slices appear.
• The sample must be adequately recorded. Weak sounds recorded at 3. Activate playback and move the loop points until you find a good
very low volumes might not get all the slices they should. loop.
• The program might have problems with sounds drowned in smear-
ing effects, like extremely thick chorus or short repeating delays. 4. Make sure the loops starts on a downbeat (sometimes you might
decide to let the loop start somewhere else but we just want to make
Please remember that you always have the possibility to add slices “manu- sure this doesn’t happen by accident).
ally”.
5. Set the Time Signature and length (Bars/Beats) to whatever the
length of the loop.
Using Normalize and Re-Analyze to increase The Tempo gets calculated.
“readability”
6. Make sure “Transmit as One Sample” is selected (ticked) on the
If you have a loop that was very poorly recorded, you might be able to get a Process menu, and that Stretch is set to 0%!
better recognition by normalizing it and then applying Re-Analyze (see page
67). 7. Select your sampler from the Sampler menu and select Transmit or
MIDI File+Transmit, or simply export the file in the format of your
! You should first check if the file contains DC offset (see page 67) choice.
and if so, remove it. The presence of DC offset can negatively affect The MIDI File you get will contain one event which plays the entire loop at
both the Normalize function and Re-Analyze. the calculated tempo.
8. Load the MIDI File into your sequencer and set things up so that it
1. Select “Normalize” from the Process menu. plays the correct “Program” in your sampler (optional).
A dialog appears asking if you would like to process the whole file or
each slice (see page 66). 9. Repeat the MIDI File in your sequencer, as needed (optional).
2. Select “Whole File”
The file is now normalized.
3. Select Re-Analyze from the Process menu.
4. Raise Sensitivity to check if the recognition got better.
! All offline processing is undoable (last action undo). However, use

“Save As” to save a copy if you do not want to risk altering the orig-
inal file.
82 EXAMPLE APPLICATIONS
Slicing for Tempo Slicing for Tempo
Changes - Sampler and Changes - Exporting to
REX Audio File
1. Open or Receive the sample. In the previous example, the result was a number of slices - in a sampler key-
map or contained in a REX2 file. However, if you plan to use the file in an ap-
2. Raise the Sensitivity Slider until a lot of slices appear. plication that only reads regular Wave and AIFF files, you want to export your
3. Activate playback and move the loop points until you find a good loop as one file, in any specific tempo or pitch that you decide. Proceed as
loop. follows:
1. Follow steps 1 to 6 in the previous example.
4. Work on the slices with the Hide and Lock tools until you have one
slice per sound in the loop. 2. Enter the tempo, and/or the pitch that you wish the file to play back
It is important that no slice plays two consecutive sounds, so audition in (you can also add additional processing if you like).
them one at a time to check. If you have lowered the tempo by a large amount, check (listen for “gaps”
between the slices) if you have to raise the stretch amount.
length of the loop. 3. Activate “Transmit as One Sample” on the Process menu.
The Tempo is calculated.
➜ Export the file in the format of your choice using the Export File di-
6. Click the Preview Toggle button to enter Preview mode. alog - see page 76.
The result is a single file that plays in the tempo and ptich specified by
➜ The Stretch factor is by default set to 40%.
the Preview settings.
Use the Preview Tempo knob to check how the loop plays back at differ-
ent tempi and change the Stretch setting according to how much you
want to lower the tempo.
From here you have three ways to go, depending on what you would like to
do with the loop:
➜ You could select your sampler from the Sampler menu and choose
“MIDI File +Transmit”.
➜ You could export the file in another format using the Export dialog.
See next page.
➜ You could save the file as a REX2 file.
See page 76.
In case of it being a Transmit to sampler operation (and some of the Export
formats), you proceed as follows:
7. Set things up so that the sequencer plays the new program file in
your sampler.
8. Load the MIDI File into your sequencer and play it back.
Try varying the tempo.
EXAMPLE APPLICATIONS 83
Slicing for Editing Using Silence Selected
If your main goal is to edit the loop, rather than changing its tempo, you may Even if you don’t want to cut up a loop in slices, you can still use ReCycle to
take a slightly different approach compared with slicing for tempo changes: send different sounds in the loop to different outputs on your sampler to ap-
1. Set things up as in the previous example. ply processing to only one drum in a loop for example. The example below
If you activate “Show Grid” on the View menu, finding exact positions be- assumes you only want to pick out one sound, but the same technique can of
comes much easier. course be applied to separate as many sounds as you need.
1. Open or Receive the sample.
2. Work on the slices with the Hide and Lock tools until you have ap-
proximately one slice per eighth note, sixteenth note or whatever 2. Raise the Sensitivity until a lot of slices appear.
you need, depending on how detailed an edit you want to do.
If a slice plays more than one sound, please remember that you won’t be 3. Activate playback and move the loop points until you find a good
able to edit these two sounds independently. There are occasions when loop.
this will be perfectly OK though, for example when you just want to shift 4. Set the Time Signature and length (Bars/Beats) to whatever the
the order of the beats around in the loop. length of the loop.
3. Proceed as from point 5 in the previous example. The Tempo gets calculated.
4. In the MIDI Sequencer, open the MIDI File for editing. 5. Click the Preview toggle button to enter Preview mode.
When you move slices around, make sure they keep their relative posi- 6. Make sure “Silence Selected” and “Transmit as One Sample” are
tion to the beats, eighth notes etc., to maintain the integrity of the timing activated (ticked) on the Process menu.
in the groove.
7. Work on the slices until they play one sound each when you click
on them.
8. Select all slice markers which play the same sound, for example the
snare drum.
Play it back to check that all snares are silent.
9. Select your actual Sampler from the sampler menu and select
Transmit or MIDI File+Transmit, or simply export the file in the for-
mat of your choice using the Export dialog.
The MIDI File you get will contain one event which plays the entire loop at
the calculated tempo.
10. With the selection still set up as before, select “Invert Selection”
from the Edit menu.
Now all sounds that are not snares are selected.
11. Transmit the sample again to the sampler, but under another name.
12. Set up the sampler and sequencer so that the two samples are
played back at the same time. Also set up the sounds to one output
each.
They will together recreate the loop as it was, but the snare will be sepa-
rated to its own output, which means that you have independent control
over its volume, that you can process it separately etc.
Extracting a Groove Quantizing Audio
If you think about it, you will realize that all ReCycle MIDI Files are actually If you have sliced a groove or other recording, you can apply quantizing to it
timing maps of how the drums were played in the loop. Many sequencer pro- in the sequencer, if you like.
grams have the ability to load MIDI Files and apply their timing to the se-
quenced parts. The terminology used is “Match Quantize” or “Groove”. ! When Transmitting, always use at least a small amount of Stretch,
If you use a ReCycle MIDI File as a “groove template”, you can make your to avoid the gaps between slices that might otherwise occur.
sequenced parts play back with the timing of the drum loop. For this, you
could of course use the MIDI File you get when Transmitting slices to the Please note that if you have two REX2 loops in Reason, applying the timing
sampler. But, you can also create a timing file only, by exporting the file as a of one of them to the other is really easy. Use the “To Track” function in Dr.
Standard MIDI File. Proceed as follows: Rex for one of the loops, and select the resultant MIDI notes in the se-
quencer. Now select “Get User Groove” on the Edit menu. Now you can
1. Open or Receive the sample. quantize the other loop’s MIDI note data using the User Groove (see the
2. Raise the Sensitivity Slider until a lot of slices appear. Reason manual for details).
If you don’t like what you get, Undo the Quantize, and try the other way
3. Activate “Show Grid” on the View menu and work on the slices with
around, for example.
the Hide and Lock tools until you have one slice per eighth note or
sixteenth note.
In many situations there will be no sound on a certain eighth or sixteenth
note. There’s not much you can do about this. You can copy another
MIDI note in the sequencer later, or insert a new one “by hand”. You can
also add a slice manually, at any position.
length of the loop.
The Tempo gets calculated.
5. Make sure “Silence Selected” and “Transmit as One Sample” are
not activated on the Process menu.
These items should not be ticked.
6. Select Export from the File menu and save as a Standard MIDI File.
➜ If you use Propellerhead’s Reason, applying a groove to existing
music is a piece of cake. Just Import the MIDI File (or open a REX2
file - you can simply use the “To Track” function to create MIDI data
from the REX2 file) in Reason and select “Get User Groove” from
the Edit menu.
EXAMPLE APPLICATIONS 85
Extracting Sounds Using Loops with unusual
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
length or cutting
one drum loop into a file and want to save each one as a separate file.
Sometimes you don’t have a full bar of a loop. Set up the loop and the Bars
1. Open or Receive the sample. and Beats fields for as much as you have. Then slice the loop. Finally, use
your sequencer’s editing capabilities, on the MIDI notes, to recreate the
2. Raise the Sensitivity Slider until the desired number of slices ap-
missing parts.
pears.
You will also encounter situations where the best loop doesn’t really start on
3. Set “Bars” to any value but zero. a downbeat. It might for example happen that you get the best loop when you
4. Click the Preview Toggle button to enter Preview mode. position the Left and Right Locator on the last quarter note of two consecu-
tive measures.
5. Work on the slices with the Hide and Lock tools until you get the If this happens, you can fix it in your sequencer, by cutting the last quarter
sounds you want when you audition. note of the MIDI Part and pasting it in at the beginning, to position the down-
In the case of the “multi-loop” file outlined above, this would mean one beat correctly. If you don’t want to slice the loop completely, at least allow a
slice per loop. slice at the downbeat (the Lock tool is ideal for this). Then, repositioning that
6. Set the Loop point to enclose the first and last sound you want from last quarter note to the beginning of the loop will be very easy.
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.
➜ Also in the case of the multiple loop or Silence Selected scenario,
you could use the Gate Sensitivity parameter to prevent silent pas-
sages from being transmitted.
See page 68.
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.
INDEX
A E
Acrobat Reader 10, 16 Effects
Add Sampler 31 Activating 62
AIFF files 37, 77 Envelope 63
Arrow Tool 43, 57 Equalizer 65
Audio Buffer Size 20 Opening Effect Panels 62
Audio Card Driver 19 Presets 62
Audio Playback Transient Shaper 64
Loop 50 Export Groove MIDI File 78
Memory for 36 Export to ReCycle REX file 78
Open dialog 37 Extracting Sounds 86
Setting up 12
Slices 50 F
Auditioning Audio files 37 File
Auditioning Slices 50 Formats 37
Auto Play 37 Info 37
Opening 36, 38
B Saving 76
Bars 60 Find 31
Beats 60 Find All 30
Buffer Size 20
G
C Gain 67
Color 45 Gate Sensitivity 68
Contacts 14, 21 Grooves 85
Contrast Slider 45
Copy to Clipboard 13, 22 H
Copyright 6 Help Contents 20
Crop Loop 67 Hide Tool 43, 54
Cubase VST 78
I
D Internet 14, 21
Drag and Drop 38
L
Lightning icon 71
Locators 59
Lock Tool 43, 56
Loop 59
88 INDEX
M R
Magnification 44 RCY files 37
Magnify To Fit 46 Re-Analyze 67
Memory Receive sample 38
Allocating 14 ReCycle Documents 37
And Sounds 36 ReCycle Export file 78
Fragmentation of 36 REX file 78
Transmit and Export 70
MIDI Connection (Macintosh) 11 S
MIDI Connection (Win) 17 Sample Rate
MIDI Files Transmit 72
Exporting Groove 78 Window title 43
Transmitting/Exporting 73 Sampler
Adding Automatically 30
N Adding Manually 31
Normalize 66, 82 Deleting from list 33
Information 32
O Selecting 70
Open 36 Setting Up 11, 17
Verifying connection 32
P
Sampler List
Pencil Tool 43, 57 Adding Samplers to 30
Pitch 68 Editing 32
Play Viewing 30
Loop 50 Sampler Settings dialog 30
Open dialog 37 Save/Save As 76
Slices 50 SCSI
Preferences Installing (Win) 17
View stereo files as sum of L+R 45 Settings 32
Preview mode 51 Verifying Connection (Win) 17
Preview Pitch 68 Selecting 57
Preview Tempo 68 Sensitivity slider 54
Processing Sign 60
Crop Loop 67 Silence Selected 71, 84
Gain 67 Slice Audition buttons 50
Normalize 66
Pitch 68
Re-Analyze 67
INDEX 89
Slices W
Adding & Moving Manually 57 Wave files 37, 77
Adding using Sensitivity 54 Waveform Display Options 45
Auditioning 50 Window title 43
Hiding 54
Locking 56 Z
Selecting 57 Zero Crossings 57
Song Position 44 Zooming 44
Sound Designer II 37
Sound Manager Audio 13
Speaker tool 50
Status Bar 43
Stretch 63
Support 14, 21
System Information 13, 21
T
Templates 72
Tempo 68
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
U
Underruns 20
Undo/Redo 46
V
Verify 32
90 INDEX

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Getting Started

35 Opening and Receiving Audio

50 Audio Quality 81 Example Applications

MacOS vs. Windows

On-Line Help (Windows only)

1. If you have any peripherals connected to the computer or sampler,

! Don’t launch ReCycle yet! You need to perform some additional

Register your software!

Apple Sound Manager selected.

ASIO driver selected.

System Information SCSI

2. Quit ReCycle. ➜ Go to the Propellerhead Homepage

! Don’t launch ReCycle yet! You need to perform some additional

Setting Up The Sampler, Verifying SCSI Communication with the Sampler

! Please read the section about your specific sampler thoroughly! If

Read the Read Me file!

Register your software!

The Audio Preferences with an ASIO driver selected.

The Buffer Size slider.

➜ Go to the Propellerhead Homepage...

24 QUICK TOUR OF RECYCLE!

The Drum Tools Demo loop.

The Sensitivity Slider and some slices.

QUICK TOUR OF RECYCLE! 25

26 QUICK TOUR OF RECYCLE!

15. Click “MIDI File+Transmit” (or “MIDI File+Export” depending on

QUICK TOUR OF RECYCLE! 27

28 QUICK TOUR OF RECYCLE!

About REX2 Files

36 OPENING AND RECEIVING AUDIO

File Type Selector (Windows only)

OPENING AND RECEIVING AUDIO 37

Launching from Files 2. Select “Receive...” from the Sampler menu.

38 OPENING AND RECEIVING AUDIO

OPENING AND RECEIVING AUDIO 39

Transmit as one Sample Preview toggle Play

Tools Export Sound Sensitivity slider Gate

The right half of the Toolbar contains the following items:

Horizontal Magnification Waveform Level meter

Preview Pitch Processing Gain Preview Tempo setting

42 THE RECYCLE WINDOW

Right corner of the Status Bar.

THE RECYCLE WINDOW 43

Position and Scrolling The Zoom in and zoom out tools.

Zooming in on a certain area.

44 THE RECYCLE WINDOW

Zooming in using the thumbnail.

Scrolling using the Thumbnail

The “View stereo files as sum of L+R” Option

THE RECYCLE WINDOW 45

Jump to Cursor Undo/Redo

46 THE RECYCLE WINDOW

Right-clicking (Windows) or [Ctrl]-clicking (MacOS) in different areas of the

Main Waveform Display

The highlighted area indicates the Marker strip area.

| Menu Item | Description

| Menu Item | Description

THE RECYCLE WINDOW 47

| Menu Item | Description

Left/Right Locator Area