Replicant User’s Guide
Audio Damage, Inc.
Release 1.5
The information in this document is subject to change without notice and does not represent a commitment on
the part of Audio Damage, Inc. The software described by this document is subject to a License Agreement
and may not be copied to other media except as specifically allowed in the License Agreement. No part of this
publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior
written permission by Audio Damage, Inc.
© 2007, 2010 Audio Damage, Inc. All rights reserved.
Credits
Software Design and Construction, Documentation
Chris Randall
Adam Schabtach
Field Testing
Jens Ågren
Wade Alin
Chad Beckwith
Tom Freeman
Steve Hamann
Anu Kirk
Henry Stamerjohann
Made Possible By
Elle
Tracie
Fuzzy Logic
Alfred
Chica
Edwin
Garrus
Madeline
Pablo
Tali
Zed
Gone but not forgotten: Alex, Fatty, Widget
Audio Unit version implemented using Symbiosis from NuEdge Development.
License Agreement
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respect to the use of the Software.
Introduction
Thank you for purchasing Audio Damage‟s Replicant, our delay-based plug-in for slicing, dicing, and looping
your drum loops and other rhythmic audio. Replicant creates everything from simple delay and panning
effects to stutters, automated filter sweeps and unpredictable random audio mangling.
You‟re probably much more interested in playing with Replicant than reading about it, but there are some
subtleties of its operation which bear written explanation. This manual assumes you are familiar with at least
the basics of using audio plug-ins and digital audio workstation (DAW) software or other software which hosts
plug-ins. This manual provides explanations of all of Replicant‟s controls, how they operate and interact, and
how you can use a hardware MIDI controller to control Replicant.
System Requirements
To use Replicant, you'll need a Steinberg VST-compatible host application which conforms to the VST 2.0
specifications, and a computer capable of running it. For the AudioUnit version of Replicant, you‟ll need an
application capable of hosting AudioUnit plug-ins, and an Apple computer with an Intel CPU capable of running
it. Replicant requires tempo and synchronization information from its host program; most contemporary,
commercial digital audio sequencers provide this but many special-purpose plug-in hosts do not. The following
specifications represent minimum requirements.
We support the use of Replicant under Microsoft Windows XP, Vista, or Windows 7; and Apple OS X version
10.5 or newer.
Installation
Double-click the Replicant Installer icon, and follow the instructions. During the installation process the
installer will ask you to enter your registration code. Your registration code uniquely identifies your purchase,
and you will need it if you need to reinstall your plug-in (for example, after upgrading to a new computer).
Keep a copy of the code in a safe location and please don‟t share it with your friends. We‟re delighted if you
like our products so much that you want to share them, but please ask your friends to buy their own copy so
that we can keep making new products.
On OS X, the installer installs both the AudioUnit and VST versions of Replicant by default. If you click the
Customize button you can choose to not install one of these formats. If you‟re running a 64-bit version of
Windows, you can choose to install either a 32- or 64-bit version of Replicant, or both.
To un-install from OS X, simply delete the plug-in from your VST folder, which is usually located at
/Library/Audio/Plug-Ins/VST/, and your AudioUnits folder, which is located at /Library/Audio/PlugIns/Components/. To un-install from Windows, delete the file named Replicant.dll from your VST folder(s).
What’s New in Version 1.5
Version 1.5 includes the following improvements:
Completely redesigned user interface. Knobs, which are poorly suited to fine control on a computer
screen, have been replaced by numerical controls, horizontal sliders, and two-dimensional “XY” pad
controls.
MIDI triggering. Replicant can now be triggered by MIDI note messages. You can “play” Replicant
from a MIDI keyboard and/or sequence triggers in your DAW with notes.
MIDI Learn. This effect has MIDI Learn like all our products, but we have added it to the AudioUnit as
well; if your AudioUnit host allows sending MIDI to an insert effect, Replicant AU will respond to MIDI
Learn just like the VST always has.
Operation
Replicant is essentially a tempo-based delay effect. The primary feature that distinguishes Replicant from
standard delays is its notion of beat triggers, or simply triggers. Replicant divides each measure into 16 slices;
each slice has a trigger. If a slice‟s trigger fires, Replicant loops and repeats some amount of audio of that
slice. (In contrast, a standard delay loops and repeats all of the audio which passes through it.) Replicant has
controls which determine how long the repeated audio segment is and how many times it is repeated.
Replicant also has controls for filtering, panning, reversing and distorting the looped audio, creating rhythmic
timbres not present in the original signal. Replicant can automatically create random variations of its own
actions, and you can randomize all of its parameters at once with the click of a single button.
Replicant can be used in a mono, stereo, or mono-to-stereo context. In a mono context, the panning controls
have no effect. In a stereo context, no summing of the input channels happens, and the panning effects are
created by adjusting the levels of the two output signals with respect to each other (rather like the balance
knob found on most stereos). In a mono-to-stereo context the panning effects move the mono output signal
back and forth between the two output channels.
Replicant is useful as either an insert effect or a send/return effect. The FX MODE switches (described in
greater detail below) allow you to choose different combinations of the unprocessed and processed signals.
Controls
1. The Big Dial
The large, circular object at the center of Replicant‟s window contains several controls and indicators which
affect how Replicant decides to repeat some portion of the incoming audio, relative to the beginning of each
measure.
Trigger Ring
The outermost ring in the dial is the trigger ring. The ring is divided into 16 sections; each section is both a
switch that you can turn on or off by clicking it with the mouse, and also an indicator that becomes brighter
when the trigger is active. You can also turn several switches on or off in succession by clicking on a switch
and dragging the mouse pointer onto other switches.
The trigger ring represents one measure of music, so each section represents a 16th note beat. The topmost
right-hand section corresponds to the beginning of the measure. A small indicator inside the ring revolves in
sync with your host program‟s transport. Replicant doesn‟t do anything if your host program‟s transport isn‟t
playing or recording, so this indicator doesn‟t move unless your host is playing or recording.
Opportunity Sliders
Inside the trigger ring are two arc-shaped sliders, the OPPORTUNITY sliders. These two sliders control the
likelihood that Replicant will begin repeating the audio on a given beat. Change their settings by clicking and
dragging within the arcs.
The upper slider, the SELECTED BEATS slider, determines the likelihood that
Replicant will repeat the beats whose trigger switches are on. Replicant is more likely
to repeat these beats the farther to the right that you set this slider. If this slider is
set all the way to the right, Replicant will always repeat beats whose trigger switches
are on. If this slider is set all the way to the left, Replicant will not repeat any beats
at all (unless beats are chosen based on the setting of the RANDOM BEATS slider,
described next). If this slider is set somewhere near the middle, about half of the
beats chosen with the trigger switches will repeat.
The lower slider, the RANDOM BEATS opportunity slider, determines how likely it is that any of the 16th-note
beats in a measure will be selected for repetition, regardless of whether their trigger switches are on or off. If
this slider is set all the way to the left, Replicant will not randomly repeat any beats. If this slider is set all the
way to the right, Replicant will repeat every beat. If this slider is set somewhere in the middle, Replicant will
randomly repeat beats about half of the time, regardless of the state of the trigger switches.
In a sense, these sliders have complementary roles. Since the SELECTED BEATS slider only controls the
probability of repetition of beats whose trigger switches are turned on, in general it has the effect of reducing
the number of beats that are repeated. On the other hand, the RANDOM BEATS slider affects the probability
that any beats will be repeated and hence generally has the effect of increasing the number of repeated beats.
2. Repetition Controls
The controls in the upper-left region of Replicant‟s window determine the length of the audio segments that
Replicant repeats, and how many times it repeats them.
Length Controls
The LENGTH numerical controls the length of the audio segments that Replicant
repeats. Clicking and dragging upwards on the numerical increases the length of the
segments. The segment length can range from 1/128th of a measure to a full measure.
Dotted values are denoted by the letter „D‟.
If the TRIPLETS switch next to the LENGTH numerical is turned on, then Replicant can
choose segment lengths in triplet time values. This switch affects both the time values
available when changing the LENGTH control and the time values that Replicant
chooses randomly. If this switch is not turned on, the lengths of the repeated audio segments are restricted to
even note values and dotted values. Triplet values are denoted by the letter „T‟.
The LENGTH RND slider introduces random variations of the segment length. If this slider is positioned at its
far left, it has no effect and the segments will always be the length set by the LENGTH numerical. As you
move the slider to the right, the lengths of the segments become more varied. Note that Replicant does not
change the length of a segment once it starts repeating it.
Repeat Controls
The REPEATS numerical controls how many times Replicant repeats a segment of audio. Dragging upwards on
this control increases the number of times Replicant that repeats, with a maximum setting of 16 repetitions.
The REPEAT RND slider causes Replicant to randomly vary the number of times it
repeats. If this slider is set to its far left, it has no effect and the number of repetitions is
entirely controlled by the REPEATS numerical. As you move this slider to the right, the
number of times that Replicant repeats any segment of audio will become more
unpredictable, although it will not repeat any segment more than 16 times.
It is worth mentioning that the combination of a long LENGTH setting and a high
REPEATS setting will cause Replicant to churn away merrily on the same segment of audio for quite some
time—as long as 16 measures.
The MODE switches also affect how Replicant chooses beats for repetition. These switches determine what
happens if Replicant is currently repeating and a new beat is selected for repetition (either because its trigger
switch is on or because it is chosen randomly because the RANDOM BEATS opportunity slider is set higher
than 0%).
If the RETRIG button is engaged, Replicant stops playing the repeated audio it is currently playing and begins
playing and repeating the newly selected beat. If the IGNORE button is engaged, Replicant ignores the new
beat trigger and continues playing the audio it is repeating.
Whether or not the MODE buttons have any effect depends on the settings of the LENGTH and REPEATS
controls. For example, if the LENGTH is 1/64 and the REPEATS is 2, then the same thing happens regardless
of how the MODE buttons are set because Replicant will be finished playing two repetitions of 1/64th of a
measure by the time it reaches the next triggered beat (since the beat triggers can occur at most every 1/16th
of a measure). On the other hand, if the length is ¼ the seq mode buttons do have an effect, since it always
takes more than 1/16th of a measure to repeat 1/4th of a measure.
Direction Controls
The REVERSE MODE buttons and the REVERSE RAND slider cause
Replicant to play repeated audio backwards. The REVERSE RAND
slider determines how likely it is that audio will be played backwards.
If the slider is at the far left, Replicant will never play backwards. The
further that the slider is moved to the rigth, the more likely it is that Replicant will play backwards.
The REVERSE MODE switches let you choose one of two different backwards-playback modes. If the
CONSTANT switch is illuminated, every repetition of a particular repeated beat will be played in the same
direction, either forwards or backwards. The likelihood that the repetitions of a beat will be played backwards
is set by the REVERSE RAND slider. If the SCATTER switch is illuminated, Replicant will possibly reverse
playback direction with each repetition of any repeated beat. The likelihood that the direction reverses is set
by the REVERSE RAND slider. If the slider is set to the far right, the playback direction reverses with each
repetition, so the repeated audio first plays forwards, then backwards, then forwards, etc.
3. Filters
Replicant has two 2-pole filters (four if used in a stereo context), one low-pass filter and one high-pass filter.
These filters can be adjusted to alter the timbre of the looped audio. For instance, you can use the low-pass
filter to create a “darker” sound, or the high-pass filter to create a “thinner” sound.
The graph-like LPF and HPF filter controls set the corner frequencies
and resonance values of the corresponding filter. Dragging the white
circle left and right changes the filter‟s frequency and dragging it up and
down changes the resonance. Since the filters have complementary
frequency responses, the controles in some sense operate opposite from
one another. A low-pass filter attenuates signals above its cutoff frequency, passing lower-frequency signals;
whereas a high-pass filter attenuates signals below its cutoff frequency, passing higher-frequency signals. As
you move the LPF filter control‟s circle to the right, the corner frequency of the low-pass filter increases,
allowing more of the signal to pass. On the other hand, as you move the HPF filter control‟s circle to the right,
the corner frequency of the high-pass filter increases, allowing less of the signal to pass. The low-pass filter
has a frequency range of 40 to 20,000Hz and the high-pass filter has a range of 10 to 10,000Hz.
These filters are connected in series, i.e. the looped audio signal passes first through the low-pass filter and
then through the high-pass filter. If you set the frequency of the low-pass filter to less than the frequency of
the high-pass filter, you‟ll hear little or no output signal.
Moving the white circles vertically changes the resonance of the filters. Increasing the resonance of a filter
causes it to accentuate the frequency components of a signal near the filter‟s corner frequency. This makes
the filter sound more “electronic” and at high values creates a whistling sound.
When the STATIC button is depressed, the filters operate at the frequencies you set with the LPF and HPF
controls. When the button is not engaged, the filters are automatically modulated or swept as the looped
audio repeats. The first time the audio is played back the filters are set to their highest and lowest frequency
settings, respectively (i.e. the low-pass filter is set to 20kHz and the high-pass filter is set to 10Hz), and the
audio is passed without alteration by the filters. On subsequent repetitions of the looped audio the filter
frequencies are moved toward the frequencies set with the LPF and HPF controls. On the last repetition of the
audio the filter frequencies reach the values set by the controls. In other words, the filters open fully for the
first repetition of the audio, and close to the frequencies set by the controls as the audio repeats. This can be
used to impart a changing timbre to the repeated audio to make it more distinct from the original.
4. Panning
Replicant includes an automatic panning section which moves the repeating audio back and forth in the stereo
field. The auto-panner is controlled by an XY pad, a slider, and a pair of buttons. The blue line within the PAN
control graphically depicts the effect of the panning section.
The vertical position of the white circle in the PAN control adjusts the
overall effect of the auto-panner. Clicking and dragging the circle
upwards increases the distance the audio appears to move from the
center. If the circle is at the bottom of the XY control, the auto-panner
has no effect.
The horizontal position of the white circle in the PAN control sets the initial stereo placement of the looped
audio. If the white circle is at the center of the control, the audio is placed at the center of the stereo field.
Moving the circle left or right moves the processed audio in the same direction.
The DIRECTION & SPEED slider controls the direction that the auto-panner moves the looped audio and the
speed with which it moves. If this slider is placed at the center of its range, the auto-panner has no effect. If
you move this slider to the right, the looped audio moves to the right with each repetition, and moves to the
left if you move the slider the other way. The further you move the slider (in either direction) the faster the
auto-panner moves.
The PAN MODE buttons control how the panner operates when it reaches one side of the stereo field or the
other. If the REFLECT button is illuminated, the panner changes direction when it reaches either side; that is,
it bounces, or reflects, from one side to the other. This panning style is similar to a ping-pong stereo delay. If
the WRAP button is illuminated, the panner jumps to the other side when it reaches either side and continues
in the same direction.
As an example, if you place the white circle of the PAN control at the top-right corner and move the
DIRECTION & SPEED slider somewhat left from its center position, the looped audio will start at the right side
of the stereo field and move towards the left. If the number of repetitions (set by the REPEATS numerical,
described above) is sufficient, the looped audio will reach the left side of the stereo field. If the REFLECT
button is depressed the audio will move back towards the right; if the WRAP button is depressed the audio
will jump back to the right side. The vertical position of the white circle in the PAN control controls the overall
width of the movement.
If Replicant is inserted in a mono-in/mono-out context in your host program, the panning controls have no
effect.
5. Output Controls
The controls in this section affect how the repeated audio is mixed with the incoming audio. There is also a
bit-reduction control and buttons for randomizing Replicant‟s parameters.
Randomize Buttons
Clicking the RANDOMIZE button sets most of Replicant‟s parameters to randomly chosen values. Click this
button when you want to create an effect with Replicant that you might not come up with by yourself. The FX
MODE and BITS parameters are excluded from randomization to reduce the chance that Replicant will create
unexpectedly loud output signals. The RAND HOLD button is also not changed randomly.
The RANDOM HOLD button, when turned on, causes Replicant to use the same series of randomly generated
events for each measure, based on the settings of all parameters at the beginning of the measure. This means
that Replicant will generate the same pattern of repeated audio loops until you change any of
the controls that are affected by randomly chosen values—essentially all controls other than the
filter controls, the panning controls, and the output controls. The RANDOM HOLD button is
checked only at the beginning of each measure. As a result, you may find it most effective to
turn the button on, listen to Replicant‟s output and decide whether or not you find it
interesting, and if not turn the button off and back on again as Replicant‟s position indicator moves past the
beginning of the next measure (i.e., the top of the dial). This will cause Replicant to generate a new series of
random events which will be preserved until you toggle the RANDOM HOLD button again.
Effects Mode
The FX MODE buttons choose different signal-mixing configurations. The different
configurations control how Replicant mixes the processed signal with the incoming signal to
form its output signal, and are appropriate for the different ways in which a plug-in can be
inserted in the signal paths in your host software.
The MIX mode mixes the input signal with the output signal in equal amounts. This mode is
appropriate when you‟re using Replicant as an insert effect on one channel of your host software‟s
mixer, and you want to hear both the original signal and the processed signal mixed together.
The DUCK mode silences the input signal when it is playing back looped audio, and passes the input
signal without alteration otherwise. This mode is useful when you‟re using Replicant as an insert
effect, and you want to hear the original signal and the processed signal but not both at once.
The SEND mode does not pass any of the unprocessed input signal to Replicant‟s output. You hear
only the looped audio. This mode is useful when you‟re using Replicant as a send effect in your host‟s
mixer, sending one or more channels to it and mixing its output with the other signals.
Bit Reducer
The BITS numerical controls a bit-depth reducer applied to the looped audio. Dragging
downwards on this control effectively reduces the number of bits used to represent the
audio signal. This creates “lo-fi” effects associated with older hardware samplers,
hand-held electronic games, etc. The bit-depth reducer affects the signal before it
reaches the filters, so you can use the low-pass filter to reduce the high frequencies
and remove some of the edge created by bit-depth reduction. (Alternatively you can use the high-pass filter to
remove the lower frequencies, accentuating the edge.) Note that at very low settings the bit-depth reducer
can increase the amplitude of the signal substantially. Please exercise caution and use the volume slider to
compensate.
Level Controls
The VOLUME slider controls the volume (loudness) of the looped and filtered audio signal. Moving this slider
to the right makes the processed signal get louder. It has a range of -40dB (quite a lot of attenuation) to
+6dB (a modest amount of boost). You can use this slider to compensate for the loudness changes created by
the resonant filters and/or the bit-depth reducer. The unprocessed signal is not affected by this control.
The DECAY slider determines how much, if any, the looped audio diminishes in loudness
each time it is played. If the DECAY slider is at the far left, the looped audio is played back
with the same loudness with each repetition. If you move the slider to the right the looped
audio becomes quieter each time it repeats. At the far right position the audio usually
fades out altogether before you hear the last repetition. You can use this control to make
Replicant sound more like a traditional delay effect. This control has a range of 0dB (no decay) to -6dB per
repetition.
Trigger Keyboard and MIDI Triggering
Replicant can be triggered by MIDI note messages. You can use a MIDI
keyboard to interactively slice and repeat audio passing through
Replicant. The pitch of the note sets the length of the repetitions as
shown on the keyboard diagram at the lower left of Replicant‟s window.
The lowest key on the diagram corresponds to MIDI note C2. For example, if you play F2 on your MIDI
keyboard, Replicant will start repeating a chunk of audio 1/16th of a measure in length. If you hold down the
D3 or E3 keys before pressing another key, Replicant will play dotted or triplet values, respectively.
Replicant will keep repeating as long as you hold down the MIDI key. MIDI triggering overrides Replicant‟s
own triggering, but is affected by the various randomization sliders.
You can also click the keyboard diagram with the mouse to trigger Replicant.
MIDI Controllers
Replicant responds to MIDI continuous controller messages. You can use hardware MIDI controllers, such as
MIDI slider boxes or the knobs found on some MIDI keyboards, to adjust Replicant‟s parameters.
Replicant has a simple “MIDI Learn” mode for assigning its controls to MIDI controllers. To assign a control to
a MIDI controller:
1. Hold down the SHIFT and CTRL keys on your PC‟s keyboard, or SHIFT and CMD keys if you‟re using a Mac,
and click once on the control. A white box will be drawn around the control to indicate that it is ready
to learn which MIDI controller it will be assigned to.
2. Move the MIDI controller to send a continuous controller message—turn the knob, press the button,
move the slider, whatever is appropriate.
3. The white square will disappear. Now the screen control will move when you manipulate the MIDI
controller.
Replicant waits until it has received two consecutive continuous controller messages with the same controller
number before it makes an assignment. This filters out extraneous data sent by some MIDI controllers. If you
are assigning a button or switch on a MIDI controller, you may have to press or move the switch twice before
Replicant recognizes the controller and assigns it to the desired control.
To assign a different MIDI controller to a control, repeat the same procedure using a different
controller.
To cancel MIDI Learn mode without assigning a controller, hold down the SHIFT and CTRL keys (SHIFT
and CMD keys on a Mac) and click in any empty area in Replicant‟s window (i.e., don‟t click on another
control). The white box will disappear.
To remove a MIDI controller assignment from a control, SHIFT and CTRL keys, (SHIFT and CMD keys on a
Mac) click on the control once so that the white box appears, then click again on the same control.
Replicant‟s MIDI controller assignments apply to all presets and instances of Replicant, in all host applications
that you use. The MIDI assignments are stored in a special file on your hard drive. The contents of this file are
read when Replicant is loaded by your host. If you have two or more instances of Replicant in use at once, any
MIDI assignments you make will not be propagated to the other instances until the next time that your host
loads the plug-ins.
And Finally…
Thanks again for purchasing Replicant. We make every effort to ensure your satisfaction with our products,
and want you to be happy with your purchase. Please write support@audiodamage.com if you have any
questions or comments.
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