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Freshnelly ReFleX Live Loop, Manual

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Freshnelly ReFleX Live Loop Manual Download Page 5

 

- 5 - 

II.   The Panel

 

 

  This panel diagram is a breakdown of the main controls and I/O. A description of each follows below. 
 
 

 

 
(1) 

Audio Input Right Channel 

 The AC in R is the right channel input for stereo sample recording. It can tolerate a maximum of +/-5V before any 
distortion and is capacitively coupled to respond to frequencies as low as 20 Hz. The input gain is fixed to ensure 
equal response between the recorded sample, the played sample, and the other channel. 
 If the Reflex LiveLoop is used with the expander module, this input can become a separate RP (RecordPlay) input, 
(This input can be used for Sample Recording, Layering, and Echo undisturbed, while FX are being applied to the 
left channel ACin FX) but as a standalone, consider FX (left) the channel with feedback insertion. 
 
(2) 

Audio Input Left Channel 

The AC in L is the left channel input for stereo sample recording. It can tolerate a maximum of +/-5V before any 
distortion and is capacitively coupled to respond to frequencies as low as 20 Hz. The input gain is fixed to ensure 
equal response between the recorded sample, the played sample, and the other channel. 
 Being the "left" channel, it can also be designated the FX channel as it's feedback route can be inserted into using 
FB Send and FB return. See (5) (6). 
 If the Reflex LiveLoop is used with the expander module, this input can become a separate FX input, (This input 
can be used to record for Mini-Looping, Granulizing, Reversing, Stuttering, Slicing RP, Slicing FX, and Punch-ins 
without disturbing an Echo, Layer Loop, Record, or Play on RP channel) but as a standalone it's the Left channel in. 
*Note: If only a single signal is available, the Left channel is normalized to the Right so both sides become active. 
**If low audio sources (non-modular) the samples may seem "noisy". Use a pre-amp to raise to modular levels. 
 
(3) 

Audio Output Right Channel 

 The AC out R is the right channel mix output to feed sample audio mixed with input audio to an external amp, 
filter, mixer etc. The maximum output level is +/- 5V (10Vp-p) and is capacitively coupled to respond to frequencies 
as low as 20 Hz. Audio from the sampler is passed through the EQ before mixing with audio from AC in R. 
 If the Reflex LiveLoop is used with the expander module, this output can become the RP channel mono output. 
 
 
 
 

Summary of Contents for ReFleX Live Loop

Page 1: ...30 A Slicing Methods pg 31 B Playing Slices pg 32 C Slice Groove Automation Sequencer pg 33 D Slice Modifications using PlayFX pg 34 E Slice Overdubbing Global Overdubbing pg 34 F Slice Remove pg 35 G...

Page 2: ...also all be modified on the fly with the PlayFX miniLooper and its Start End Position Size the G Move Granualizer and Stutter mode under panel control offset by CV control inputs Here s some features...

Page 3: ...ce using selected slices then loop playback Slice Record Over dubbing replace PlayFX 3 PlayFX Modes to play sections of RP Sample at any time slice able PlayFX all modes inside of slices global and un...

Page 4: ...ample Holding the Record button 1 second always stops sample record and or play PlayFX and Slices are best described using the diagram below PlayFX windows over a certain area of a sample captured def...

Page 5: ...response between the recorded sample the played sample and the other channel Being the left channel it can also be designated the FX channel as it s feedback route can be inserted into using FB Send a...

Page 6: ...ecorded audio signal This is an important feature for Layering and Echo with minimal amplitude degradation but can be overdriven or band muted if desired using the EQ See sect VIII A on pg 40 Note Usi...

Page 7: ...s depends on which of the 3 modes Layer Echo R P the Reflex is presently set to It s important to note that the Record button becomes an Arm button when Trig FSW Clk is set to Clock Each step rec play...

Page 8: ...ould be a desirable feature in a play though slice scenario See sect VI on pg 30 for more on Slicing 21 T G Input Selectors These buttons select the type of input that will be used to control PLAY and...

Page 9: ...intuitively similar but have differences in their external triggering functions and modes See each section for more Hidden Features Functions Combinations of Buttons can access higher functions allow...

Page 10: ...3 RP Modes and alone always starts a record in the RP sampler Note R P is a MODE whereas RP is the main sampler level record play looping etc anything NOT playFX playing or a Slice playing is consider...

Page 11: ...ho tap the REC button at this point the Reflex is only recording 2 At the time you would like the echo to begin echoing tap REC again Options To put Echo into Endless Echo loop just tap record again T...

Page 12: ...n the RP Sample Loop or a Slice without changing the flow of the larger sample A miniLoop can be reversed paused at a position G Move or set boundaries for a Slice To start a MiniLoop from the RP samp...

Page 13: ...rea of a Sample If the RP sample created in the first examples still exists it s time to G Move it G Move is a sliding loop that is engineered in the Reflex hardware and software to be quite small It...

Page 14: ...ct involving G Move is the on the fly Freeze ability This can be done manually or via the Play trigger input which should be set to Gate Switch to R P mode and start Recording some audio In R P mode r...

Page 15: ...ZE knobs to relative values to describe the MiniLoop in the echo cycle 4 Hold PLAY button at any time in the echo Remember POS will choose the MiniLoop Position in echo 5 After a second or two release...

Page 16: ...ch this example covers is known and has a beat or rhythm then slicing it is as easy as 1 2 3 slices Use the MODE button to select R P Mode for a simple sample recording Ensure SLICE SEL is off or hold...

Page 17: ...e slicer that creates slices from audio peaks It s not as simple as that but the results are usually ideal and can be used to turn canned music into a frenzy of breakdowns grooves or chaos The best pa...

Page 18: ...d out how to slice with T G inputs and Play slices with SL PLY and SL CV inputs clocking see section VI 5 Modifying Slices A fairly recent addition to the Reflex Slicing arsenal is the ability to modi...

Page 19: ...one on it for obvious reasons 7 Auto Slicing As mentioned in sections above Auto Slicing is yet another method of gathering slices from a sample This function runs in the background and in no way impa...

Page 20: ...ple is appended to become longer Longer sample times can be realized by reducing the Sample Rate As you rotate the Rate knob to the left from center the 1 LED will light At this point you are 1 octave...

Page 21: ...sion period so the sample if intended to be used with clock should be on the shorter side Clock can also be used to sync and initiate a record in R P mode Feed a clock into the Rec T F C input while C...

Page 22: ...as hands free and works exactly as the REC button does CLOCK Setting the input format to Clock will cause the Record action to start only after a trigger clock input is sensed on the REC T F C input...

Page 23: ...ecorded or Double tap Start a new Layer and mix SOS the previous layer in A single tap any time after this wait 1 second will cause this record to end Adding a Layer If the new Layer is just playing a...

Page 24: ...w far the Rate will follow although it is an intriguing possibility It will fall out of phase as the clock changes rather than shift the pitch as a last resort Setting the Clock Divider To set the Clo...

Page 25: ...layers Because of the very low noise floor of the Reflex LiveLoop several Layers can be created without significant noise being copied from one to the next Therefore getting as close as possible to ze...

Page 26: ...and the End knob bottom right sets the end of the loop or loop at point While this isn t the best solution for panning over a sample in my opinion it does have the advantage of being able to reverse...

Page 27: ...voltage with any signal that changes rapidly that is unless you switch to Fine mode Fine Setting If the sample is longer than 10 seconds the POS SIZE controls become fairly coarse if you re trying fin...

Page 28: ...timbre Using G Move Use the P SEL button to select the GM LED blue if not already there The Play LOOP LED state has no affect on G Move but will exit G Move if turned off fast exit Adjust the GM top...

Page 29: ...keep in mind that if the two sample rates are close there may be some distortion as the two rates line up then fall out of alignment Most of this has been filtered away but in the interest of keeping...

Page 30: ...tes Creation of a Slice flash or Slice Sequencer Record mode sect C below RP Mode Dependency The way a Slice is created depends on the RP Mode and the step of the RP mode record play echo etc Slices c...

Page 31: ...e in right at the start with a very low Size setting If the sound disappears then Back Slicing needs to be adjusted a bit forward It s too far back Default setting is 4 38mS This allows attacks from m...

Page 32: ...On Off If Loop is off will play through following Slices instead of looping or stopping 1 Shot at end of a Slice Hold LOOP button to toggle Slice Loop on off SL CV input can be used to select Slices...

Page 33: ...nges and Rate CV input Slice Sequencer Clock Trigger Output Please note that hand made SGS is not synced to incoming clock because is has it s own time base but if REC T F C is switched to CLK a deriv...

Page 34: ...est to highest is used to set the Record head s limits when the REC button is tapped Record will continually update the Slices with new audio or a mix which can get really busy providing the same sequ...

Page 35: ...FX LOOP in on PlayFX will begin on Slice trigger but then continue until either LOOP is turned off or the PLAY button is held This looping will change and start with each new Slice triggered which is...

Page 36: ...uickly to far above 100 if desired There are 4 MID band settings See Sect IX A Settings to permanently change the MID band frequency Blend CV Control The Blend CV if enabled Option LED 3 default is on...

Page 37: ...he piece you are working with is one way of dealing with this Because the Rate CV is 1v octave it can also be moved around and Stutter can follow what the rest of your rack is doing It opens up a lot...

Page 38: ...CLK and introduce a clock The clock will be divided by your Clock setting see Section VIII pg 40 This ClockDiv will determine the initial length of your echo once started Just tap REC button the rest...

Page 39: ...top CV jack ST GM POS becomes a 5V offset for the top knob This allows the delay to be moved either way from the present knob position and is very useful for staggering delay sizes thus adding a swing...

Page 40: ...his does not affect the Rate CV range at all 5 octaves except you won t be able to offset it with the Rate knob as much Rate Return As the Rate control is used for Setting other modes and functions su...

Page 41: ...lways set the bottom END SIZE PlayFX knob up some One reason for this is the bottom setting in all 3 PlayFX modes almost always results in silence or a buzz as was intended but a real performance kill...

Page 42: ...Rate down some Once the Rate has been set re enter CLK mode by selecting with the REC T F C button Echo Mode Clocking Echo Mode is the most Clock friendly and responds quickly to a changing clock rate...

Page 43: ...ndling The way recording has no stops or boundries may be annoying to some the fact that a Slice can be over written by a record gone rogue left going while others see it as a blessing Limitation 2 Sl...

Page 44: ...s LEDs may chase around Remove AC inputs flatten EQ to center before entering this menu Will take about 2 minutes Amber center lights when done LED 8 4 Manual Calibrate Feedback Flashes immediate jump...

Page 45: ...was playing at save time MIDI control is added via a 3 5mm jack mounted on the tiny expansion board An SD Card addition to the Reflex LiveLoop would also be a logical next step in modular sampling ca...

Page 46: ...teLock The Mode button can be held to toggle into out of RateLock so preferred power up setting only needs to be set once See Sect VII C on page 37 RateLock Clocking in Echo Mode Now Clocking an Echo...

Page 47: ...active until the EQ knob or CV moves over the previous setting This can be useful for adjusting 2 bands without interfering with the third that is set way low or high when in All 3 bands selection It...

Page 48: ...s played via SL PLY trigger input while Slice LOOP is off will Stop once they reach their loop point This mimics a 1 shot sample player and was brought in after several requests Note that the Slice bu...

Page 49: ...OP is on This can be useful with certain types of Slices that are created within a time domain like echo and will always reflect that time domain This is the original way Slices worked before 1 Shot S...

Page 50: ...e recording and ClockDiv quantization this record to play transition time can be predictable and much easier to use Using a 3rd patch a clock sequencer clock will keep the sequencer stepping while rec...

Page 51: ...the rhythm to have tapped in and is based on X 4 timing between 60 and 120 BPM X is your ClockDiv setting 1 16 So if ClockDiv is set to 8 and the derived beat is 110BPM then 220 BPM will be sent as a...

Page 52: ...ecord running so the Slices change every 3 minutes Now you don t have to wait for 3 minutes as this special Recording uses the lowest highest Slices in memory to acquire it s record range Record can b...

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