Page 1
Operation Manual
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Page 2
Introduction
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Buffre Beat Repeater is an audio looping effect that repeats and scrubs audio in sync
with song tempo. Designed exclusively as a Propellerhead Reason Rack Extension,
Buffre is a performance effect, controllable in real-time from a MIDI keyboard or control
surface, and supports Reason control voltage routings for creating modular-based
stutter and glitch effects.
Audio signals are continuously captured by the Buffre loop engine, and at the moment
the effect is triggered, sampled audio repeats until the trigger is released. Loop
duration is selected by pressing different keys on the MIDI keyboard, and adjusting the
pitch wheel increases the repetition speed for accelerating ‘drill’ effects. The loop engine
features several playback modes and can process audio segments from two measures
down to a 4096th note.
Buffre features real-time reverse loop playback and sample rate control. Instantly add a
backwards drum hit by switching to reverse mode, or adjust the pitch control to mimic
the sound of a tape stop or spin up. Also, by capturing and manipulating extremely
short audio loops, Buffre can synthesize granular audio textures.
This manual is prepared to provide in depth understanding of all of the features and
capabilities of Buffre.
Page 3
Control Overview
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#
Control
Function
1
Main Display
Waveform and Loop Position Indicators
2
Loop On Button
Enables Loop Repeat Mode
3
One Shot Button
Enables One Shot Mode
4
Reverse Button
Reverse Audio Playback Mode
5
Manual Trigger Button
Front Panel Effect Trigger
6
Reset Button
Forces Loop Position back to start point
7
Backwards Button
Shifts Loop Section back 1/4 note
8
Advance Button
Shifts Loop Section ahead 1/4 note
9
Volume Kn o b
Main Output Level Control
10
Length Sweep Wheel
Loop Duration Control
11
BitCrush Wheel
Digital Distortion Effect
12
Pitch Knob
Adjust the Loop Pitch / Sample Rate
13
Snap Button
Enables Half Step Divisions of Pitch Knob
14
Randomize Knob
Random Start Position Control
15
Link
Stereo Link Randomize control
16
Mode Selector
Play Back Mode Switch
17
Triplets Button
Enables Triplet and Dotted Divisions
18
Length Knob
Manual Trigger Length Control
19
Release Knob
Loop Smoothing Effect
20
Start Knob
Gate Start Position Control
21
Gate Button
Enables the Gate Effect
22
Length Knob
Controls the duration of the Gate Effect
23
FX Send Buttons
Enables / Disables signal routing to FX Sends
24
FX Send Knobs
Controls the levels to FX Sends
1
2 3 4 5 6 7 8 9
10 11 12
14
13
15
16
17
18 19 20
22
21
23 24
Page 4
Rear Panel Connections
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#
Connection
Function
Sequencer Control
1
Gate (Trigger Loop)
Sequencer Control Gate and CV Signals must be
2
CV (Loop Duration)
received as a pair to engage the loop engine. Connect
to a Matrix or Thor Step Sequencer
Modulation Inputs
3
Volume
CV In - Unipolar Control for volume
4
Pitch
CV In - Bipolar Pitch Control
5
Length Sweep
CV In - Bipolar Pitch Control
6
BitCrush CV
CV In - Unipolar BitCrush Control
Gate Inputs
7
Reset Position
Gate In - Resets the Loop Start
8
Advance Quarter Note
Gate In - triggers the Advance function
9
Backwards Quarter Note
Gate In - triggers the Backwards function
Modulation Outputs
10
Loop Start
Gate Out - Trigger sent at the start of a loop
11
Position
CV - Unipolar value that corresponds to position
Audio
12
Audio Inputs
Stereo or Mono Audio Connection
13
Audio Outputs
Stereo Audio Output Connection
FX Sends
14
FX Send 1 Outputs
15
FX Send 2 Outputs
The FX Send outputs send audio signals that are
currently looping. The signal level is post fader relative
16
FX Send 3 Outputs
to the volume control
1
2
3
4
5
6
7
8 11
9
10 12
13
14
15
16
Page 5
Main Display
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The 32 Segment Display Unit provides visual feedback of audio signals and processes
occurring in the loop engine. During normal operation, the waveform scrolls from right
to left, indicating that incoming audio is being captured and primed for immediate
looping. When looping is engaged, waveform scrolling stops and the loop position
indicator lamp appears below the waveform segments*. This is the default display
behavior corresponding to Past playback mode.
If Play Mode is set to Current or Current BW<->FW, The display will start scrolling from
left to right, indicating that incoming audio is still being captured as the loop process is
engaged.
The Visual Display. Waveform segments appears in the upper blocks, and loop position is
indicated on the moving lamp below.
Beat Repeat Triggers
Buffre is designed to operate with a MIDI Keyboard, and this requires an associated
sequencer track assigned to the device. Adding it to the INSERT FX path of a Mix
Channel or Audio Track will not automatically add a track, and you will need to manually
create a corresponding sequencer lane using the “Create Sequencer Track” Edit menu
item.
MIDI Keyboard Trigger
Pressing a key in the range of D1 to F3 engages the beat repeat effect. Each note
corresponds to a different loop length which is tied to the song document tempo
settings. Pressing D1 initiates a loop with a half note duration, and the loops become
progressively shorter as you play up the keyboard. The key arrangement leads with an
even time division, then a dotted time division, then a triplet time division, and then
returns to an even division. For example, pressing F1 triggers a quarter note loop which
is four 16th steps. F#1 triggers a Dotted Eighth Note loop (three 16th steps); and
pressing G1 triggers a Quarter Note Triplet loop (2/8T steps). The next key, G#1 returns
to an even division of an Eight Note (two 16th steps).
Every three keys, or three half steps, the repeat duration is halved. For example, Note
F1 is a 1/4 note division, move up the scale three keys to Note G#1, the division is an
1/8th note; move another three keys to Note B1, the division is a 1/16th note.
*At high tempo loop cycles the display may not respond as expected due to graphics aliasing.
Page 6
Beat Repeat Triggers (cont)
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Triplets Button
When the Triplets button is disabled, dotted and triplet divisions are
filtered out. Even loop division times are mapped to the keys which
would normally trigger dotted and triplet divisions. Consult the
Keyboard Mapping chart for information on time divisions.
CV/Gate Trigger
Buffre features sequencer control CV/Gate inputs which receive events from modular
sources such as the Matrix Pattern Sequencer, Thor, or the RPG-8 Arpeggiator. Beat
Repeat triggers respond to note values in the range of D1 to F3, and both a Note CV
and Gate trigger must be received in order to engage the loop engine.
Manual Trigger
In addition to MIDI and control voltage trigger controls, the front panel
has a Manual Trigger Button which engages a loop determined by the
Length Knob. These controls provide quick access to the beat
repeater function. The Manual Length controls are limited to 1/2, 1/4,
1/8, 1/16, and 1/32 loop lengths .
The main purpose of the Manual Trigger and Length Controls is to
provide quick access for those without a MIDI Keyboard, and also
provides a remote override access point for those using a pad
controller or alternative control surfaces. Also, the Manual Trigger
button can be used as Combinator target which streamlines the
programming of live looping effects.
Trigger Priority and Behavior
Trigger Priority is given to the last event received. This applies to all methods of
triggering the beat repeater loop. Each time a Note On event is processed, the loop
engine recalculates the start point. If notes are played legato, or if you hold down more
than one key to form a chord, each successive note re-triggers the loop engine. When
individual notes of the chord are released, the loop engine will refresh and start a new
loop. This manner of control can lead to some interesting results, however monophonic
performance typically yields the best results when controlling Buffre.
Page 7
Keyboard Mapping
Key
Division Triplets On
Division Triplets OFF
F3
1024th Note
1/1024
E3
512th Triplet
1/512T
1024th Note
1/1024
D#3
dotted 1024th
3/1024
D3
512th Note
1/512
C#3
256th Triplet
1/256T
512th Note
1/512
C3
dotted 512th
3/512
B2
256th Note
1/256
A#2
128th Triplet
1/128T
256th Note
1/256
A2
dotted 256th
3/256
G#2
128th Note
1/128
G2
64th Triplet
1/64T
128th Note
1/128
F#2
dotted 128th
3/128
F2
64th Note
1/64
E2
32nd Triplet
1/32T
64th Note
1/64
D#2
dotted 64th
3/64
D2
32nd Note
1/32
C#2
16th Triplet
1/16T
32nd Note
1/32
C2
dotted 32nd
3/32
B1
16th Note
1/16
A#1
Eighth Triplet
1/8T
16th Note
1/16
A1
dotted 16th
3/32
G#1
8th Note
2/16
G1
Quarter Triplet
2/8T
8th Note
2/16
F#1
dotted 8th
3/16
F1
Quarter Note
4/16
E1
Half Triplet
4/8T
Quarter Note
4/16
D#1
dotted Quarter
6/16
D1
Half Note
8/16
Half Note
8/16
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The following table maps the division arrangement on the MIDI keyboard. These values
also apply to NOTE CV from a step sequencer device.
Page 8
Performance Controls
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Length Sweep
The Length Sweep control scales the duration of audio cycled in the
loop engine. When the Length Sweep parameter is increased, the
duration is reduced, thus accelerating the repeat rate. When set to
100%, the loop duration is four times shorter, so if you are looping a
1/2 note segment and raise the control to 100%, the loop gradually
shortens an eighth note segment. (yes, it’s cool!)
Decreasing Length Sweep has the opposite effect and makes the
segment longer, effectively slowing the beat repeater rate. When set
to -100% the loop duration is four times longer. If you are looping a
1/4 note section and lower the Length Sweep to -100%, Buffre cycles
through a full measure of audio.
The Buffre display normally depicts a full measure of audio stored in the loop engine,
however if the duration exceeds the scope of the display, you will only one measure will
be visible and the buffer position indicator will stop until playback cycles back to the
beginning of the loop.
Bit Crush
Bit Crush is a type of digital distortion which can be applied to audio in the Buffre loop
engine. Increasing the control intensifies the amount of distortion applied. The Bit
Crush Amount parameter is mapped to the mod wheel, so this effect can be scaled in as
part of the performance or recorded to a note clip in the Reason Sequencer.
In actuality, the downsampling treatment in Buffre is a sample dump or skip. As the
amount is increased, more samples are skipped, effectively reducing the sample
playback rate. One minor issue that arises from this process is the fact that there are a
different number of samples being dumped depending on the system sample rate.
There is a difference in tonal character between 44.1kHz and 48kHz playback, however
there is no difference between multiples of a base sample rate such as 48kHz to 96kHz.
If you work at a lower sample rate and render at a higher sample rate, it’s
recommended that you either render out at the original rate, or work at a multiple of the
target rate at which you plan to render.
Page 9
Playback Modes
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The beat repeater effect is simply the process of looping a section of
audio stored in memory. Typically, the effect initiated for a short period
to inject a burst of rhythmic looping audio, and then released allowing
normal audio signal to continue playing. Part of this process is the
capturing and storage of audio and part of the process is playback.
Up to two measures of audio is captured by Buffre, and the manner of
storage and reproduction is dependent on the Playback Modes: Past,
Past (BW<->FW), Current, or Current (BW<->FW).
Waveform of a one-measure drum loop. The following illustrations
refer to this as the baseline of an unprocessed signal.
Mode 1: Past
When Buffre is triggered in Past Playback Mode, a section of pre-sampled audio is
looped, and the incoming audio signal is muted until the trigger is released. The loop
duration also determines the playback start position. The image below depicts a series
of 8th note segments looping after the trigger is received. The looped audio is stored,
prior to receiving the trigger.
With “even” time divisions, such as Quarter or Eighth notes, Past Playback Mode is
more forgiving with high latency setups or with late trigger events (this is a nice way of
saying ‘bad timing’). Enabling the effect, moments after a snare hit, renders a
synchronized “drum roll”.
Page 10
Playback Modes (cont)
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Mode 2: Past FW<->BW
The FW<->BW or Palindrome Mode introduces reverse playback to the loop. When the
beat repeater is triggered, playback starts from a stored memory point and plays
forward to the end of the time division. Playback then reverses from the end position
back to the start position, and continues to loop back and forth until the trigger is
released. With both a forward and backward aspect to the effect the total loop time is
twice the time division.
Mode 3: Current Mode
Current Mode is the most common form of the beat repeat effect that engages at the
time a trigger event is received. When triggered incoming audio is stored to memory up
to the end of the time division, then loops continuously until the trigger is released. To
repeat the transient of a drum, the effect must be triggered in anticipation of the hit.
Mode 4: Current FW<->BW
Current Palindrome is initiated when a trigger is received. During the first segment of
the time division, the output sounds exactly the same as the incoming signal, on the
second segment of the time division, the audio playback is reversed.
When the loop engine is triggered with a 1/16th note duration (B1) right on or before a
transient, Current FW<->BW Playback simulates a vinyl scratching effect.
Page 11
Reverse Mode
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The Reverse Button alters the direction of loop playback. This allows
for instantaneous reversing of live audio signals. The actual behavior
of the reverse function varies on the Play Mode.
Past Mode + Reverse
In Past Mode, the effect has immediate access to pre-sampled audio,
and when a trigger is received, the effect will immediately start
reversing the audio playback and sound as if the loop is rewinding.
The loop will continue to loop backwards until the trigger is released.
Current Mode + Reverse
Current Playback Mode fills the buffer after the effect has been triggered, so sometimes
there will be a gap of silence for one cycle before the loop begins to play backwards.
Page 12
Reverse Mode (cont)
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On occasion there will be some leftover data in sample memory, and when a trigger is
received, that portion of data will be played in reverse as the memory fills with incoming
audio information.
Reverse + FW<->BW
When Reverse is enabled and playback is set to either current or past palindrome
modes, the initial direction is reversed. This effectively changes the playback direction
from Backwards to Fowards (BW<->FW).
Page 13
Loop On
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On occasion you may need to restrain the beat repeat effect and limit
playback to only one cycle, and there are two different controls which
limit loop cycling. These are the Loop On and One Shot controls.
Loop On
For normal repetitive beat repeat effects, the Loop On button must be
enabled. When the button is disabled, the repeater effect will playback
one cycle then cease all playback until the trigger is released. When
the trigger is released, the incoming audio passes through normally.
Switching the button on again, while holding the trigger, resumes normal loop playback.
Current + Loop On Disabled
When in Current Playback Mode, Buffre simply becomes a triggered gate. The
incoming audio passes through for the duration of the loop trigger, and at the end of the
loop, playback stops.
Current (FW<->BW) + Loop On Disabled
With Buffre is set in either of the pendulum (FW<->BW) modes, playback will cycle
through both the forward and backwards phases of the cycle then stop until the trigger
is released.
Page 14
Loop On (cont)
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Loop On Disabled with the beat repeater engaged
Loop On can be disabled while a repeater loop is already engaged, allowing you to end
and silence the audio signal. If the Loop On button is disabled during the first cycle of
the loop, playback continues until the end of the cycle, and then stops. If the repeat
effect has gone through one or more loop cycles, audio will immediately stop if the
button is switched off. If you continue to hold the trigger and switch the button on again,
playback continues at the point where it stopped.
This feature can be used in conjunction with the Reset, Backwards Quarter, and
Advance Quarter buttons and control voltage inputs. Pressing the Reset Button will
retrigger and override playback start position allowing you to create time distortion
effects. This is covered in more detail in the Position Actions section.
Page 15
One Shot Mode
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15
External FX: Echo, Alligator, etc!
Another method of limiting loop playback is achieved by enabling
Buffre One Shot Mode. While similar to disabling Loop On, the OneShot Mode button differs in terms of controls and response. With One
Shot Mode enabled, the trigger needs only to be touched momentarily
to engage the loop engine. At the end of the playback cycle, incoming
audio passes through normally.
One Shot Mode is more suited for performance configurations where
you only need to tap the trigger and move on. For example, set Buffre
to Past Playback with Reverse, and then click on the Manual Trigger
button to engage a one shot reverse sweep.
Current + One Shot
It’s important to note that you will hear no effect when One Shot Mode is enabled in
Current Playback Mode. When triggered under these conditions, a segment of audio
passes directly to the main and FX Send outputs. If you’re only monitoring the main
outputs, you will hear no audible difference, however when used in conjunction with the
FX Sends, this is very useful for sending audio bursts to other devices.
With this configuration, Buffre can be used as momentary FX gate control. Refer to the
example, Triggered FX Sends.
Page 16
Gate
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Loop playback can be modified with the built-in gate functions. Using the Gate
functions, you can close the playback window to a fraction of the loop length and also
alter which segment of the loop you want to hear. When Buffre is looping a segment of
audio, you will only hear the portion defined by the gate parameters: The Gate On
button and the Gate Start and Gate Length Knobs.
Gate On
The Gate On button enables or disables the effect.
Gate Start
The Gate Start parameter sets the position where audio
is rendered from the loop. This ranges from 0%, the
start of the loop to 100%, the end of the loop. By default
Gate Start is set to 0%.
Gate Length
The Gate Length determines the duration the gate stays open as a fraction of the loop
segment. The default setting is 100% or the entire loop length.
Length
Gate Start
Page 17
Pitch Control
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Audio being looped by Buffre normally plays back so that repeated
events sound identical to the original audio signal. Playback speed, or
more accurately, playback sample rate can be manipulated by using
the Pitch Knob or Keyboard Transpose controls. Because
manipulation of the sample rate directly alters both pitch and time, this
process will alter the looping cycle speed, and looping loses
synchronization with the song document tempo.
The Pitch Knob scales the sample rate between -4 Octaves and + 4
Octaves. This translates to 16 times slower than original speed up to
16 times faster than original playback speed. Pitch can be adjusted in real-time to
simulate the effect of a tape stop. This works particularly well with a 1/2 note or longer
playback loop.
Pitch (Cents)
The default setting for the Pitch knob is a percentage mode where the sample rate is
altered freely between -4800 cents and +4800 cents. A lamp indicator at the 12:00
o’clock position directly above the knob will illuminate when the value is anything but
zero. As you move the knob away and back towards 0, the knob position will snap at
the vertical point and the lamp will go off. The scaling is non-linear and non-symmetrical
by design. If you prefer a linear scale, switch to Pitch Step mode by pressing the
SNAP button.
Pitch (Half Steps)
When the Pitch Snap Button is enabled, the Pitch control knob changes to a stepped
scale that alters the setting in half step, or 100 cent, increments. The 12:00 o’clock
position is zero. Adjusting the knob counterclockwise will decrease the pitch and
playback speed in half step increments down to -48 half steps or 4 Octaves. Adjusting
the knob clockwise from zero will increase the pitch in half step increments up to +48 or
4 Octaves.
Keyboard Pitch Control
The loop engine sample rate can also be altered via MIDI by pressing a key in the two
octave range between C-1 and C1. C0 sets the playback pitch to normal. Playback
speed/pitch increases in half steps for one octave up to C1, and decreases in half steps
from C0 down to C-1.
When a Keyboard Pitch Transpose message is received, the Pitch Control knob is
defeated while the transpose key is held down. When the key is released, Buffre
resumes looping at the amount set by the Pitch Knob.
Page 18
Release Control
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18
The Buffre Release knob controls the amount of a sweeping reverse layer added to the
playback of looping audio. This creates a smoothing effect of the loop window as the
reversed audio increases in loudness as the cycle nears the end of the loop and returns
to the beginning of the loop.
When using the Release feature, timing does become an issue. The
process is most apparent when a trigger is right on the transient of a
drum or percussion hit. If the trigger is early or late, the reversed
audio will be rendered by the audio in the gap preceding the transient.
When triggered simultaneously with a transient drum hit, the reversed
audio creates a smeared transition.
Release is also useful when you start working with capturing granular
elements in the 1/128th note divisions and smaller. This process can modify the
harmonics of extremely short looping segments.
Randomize
The Randomize Knob controls a playback modulation that randomly
alters the start point of the loop, creating a slight shuddering
movement of the processed loop. The Right Channel and Left Channel
start points are modulated separately which creates a stereo widening
effect. This feature is particularly useful for transforming granular hits
to create stereo textures.
Enabling the “Link” button assigns the identical random modulation to
both the left and right channels, keeping the variation equal for both
sides of the signal. The start point and looping characteristics are
randomized, but there is no stereo separation.
Page 19
Position Actions
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19
Three buttons comprise the playback
action controls: Reset, Backwards
Quarter and Advance Quarter Buttons.
Pressing one of these buttons shifts the
looping segment. If the loop engine is
not engaged by a trigger, these buttons
have no effect.
Backwards Quarter
Pressing the Backwards Quarter Button shifts the playback loop segment backwards by
a quarter note. You can continue to shift the playback segment until you reach the
beginning of the audio stored in memory. When you shift the segment backwards, the
display will scroll to update the loop section. When a loop is triggered, the segment
starts at the zero position, and you will not be able to shift backwards.
Advance Quarter
Pressing the Advance Quarter button shifts the playback loop segment forward by a
quarter note. You can press the Advance Quarter button several times until you reach
the end of the audio stored in memory, and the waveform segments will shift to
correspond to the section of audio being looped.
Reset
Pressing the Reset button immediately forces the loop to restart at the beginning of the
loop cycle.
Loop On Disabled
As previously described, when the Loop On button is disabled, audio stops playback
when the loop reaches the end of the cycle. If a loop is held in memory, pressing the
Reset button will restart the loop for another cycle. When Buffre is in Current Play
Mode mode with Loop On Disabled, the device acts as a sampler which then allows you
to play the sample by pressing the Reset Button or triggering Reset with a Gate Trigger.
Position Gate Inputs
These controls can also be triggered by Gate signals connected to the input sockets on
the back panel of Buffre.
Page 20
Output Level Controls
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20
The Volume and FX Send controls scale the output signal levels of
Buffre. Unlike typical Reason device designs where unity gain (0 dB)
is established at a setting of 100 or 75% of the control scale, Buffre
sets unity gain* to the 12 o’clock position.
From center clockwise, the output level is scaled from 0 dB to +6 dB,
and from the center counter clockwise, output level is scaled from 0 dB
to -inf dB (silence). This makes it more flexible to create crossfader
effects either with control voltages or with combinator modulation
routings.
Volum e
The Volume knob controls the output level directed to the main audio
outputs. Both audio processed in the loop engine and the input signal
gain are adjusted by this control.
FX Send Controls
Buffre has three stereo auxiliary FX sends which feed the output of loop engine only, so
the input signal is never directed to the FX Send sockets. While the effect is not
engaged, no signal passes to the FX Send outputs.
The FX Send Knob scales the levels directed to each corresponding output socket.
This control is a “post fader” value, which means that it is also scaled by the Volume
control. Each FX Send routing also has a control button that acts as mute switch.
*Unity Gain or 0 dB means that there is no change in signal level.
Page 21
Drum Loop Beat Repeater
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21
The main purpose of Buffre is to apply beat repeater effects to Reason drum and
percussion sources such as a Kong Drum Designer, Dr.OctoRex or Redrum Drum
Computer. The signal from a drum source is routed through Buffre into a Reason Mix
Channel device. The example below describes how to configure this setup:
!" #$% &$% '()*+% , -$.% ,',,/-$0% 12'&*'% &% 32"41*-567% 8--)% 9:&+'20% &$;% :-&;% &% 5'<% 8--)% -2%
32"41*-567%;2=(%)&*1>"
?" @&A'%,=2'%*>'%32"41*-567%/,%,':'1*';%B+-=%C/::%,''%&%,-:/;%:/$'%,=22-=$;/$.%*>'%;'D/1'E"
F" G2-(%*>'%H2'&*'%@'$=%I%H2'&JD'%G7%,=K('$=0%L':'1*%MN=O2'%N'&*%5')'&*'2P"%%Q>/,%C/::%&;;%
*>'%;'D/1'%*-%*>'%2&1A%&$;%&=*-(&J1&::+%1&K:'%/*%&, %&$%/$,'2*%'O'1*%K'*C''$%*>'%32"41*-567%
&$;%*>'%@#7%H>&$$':%;'D/1'"
R" 92',,%9:&+%-$%*>'%L'S='$1'2%Q2&$,)-2*%&$;%&,%*>'%:--)%):&+,0%,*&2*%)2',,/$.%A'+,%-$%+-=2%@#3#%
A'+K-&2;%/$%*>'%2&$.'%-T%3U!%*-%GR%*-%'$.&.'%*>'%K'&*%2')'&*'2%'O'1*"%
G-2%*>-,'%$'C%*-%*>'%1-$1')*%-T%N'&*%5')'&*'2,%-2%*>-,'%>&D/$.%;/V1=:*+%.'W$.%/ ;'&: % 2',=:*,0%
*2+%*>'%T-::-C/$.%2'1-(('$;';%,'W$.,X
!" L'*% @436% B9:&+%@-;'E% *-%)-,/J-$%F0%M9:&+%@-;'X% H=22'$*P"% %Q>' %:--)%C/::%2')'&*%T2-(%*>'%
(-('$*%N=O2'%/,%*2/..'2';"
?" 3/,&K:'%*>'%MQ5#986QLP% K=Y-$"% % Q>/,%,'*,%N=O2'%*-% -$:+%:--)% /$%'D'$% ,'.('$*,X% Z% ,*'),0%R%
,*'),0%?%,*'),0%!%,*')0%'*1"%%Q>/,%(-;'%/,%/;'&:%T-2%C-2A,%/$%R[R%-2%?[R%J('%,/.$&*=2',"
Page 22
Audio Track Beat Repeater
v1.0.2 operation manual
22
The beat repeater effect can also be applied to Audio Tracks, such as vocals or other
melodic parts. While there are several ways to accomplish this in Reason and Reason
Essentials, the most common approach is to use Buffre as an insert effect and nest the
device in the Audio Track Sub Rack. The example below describes the process of
implementing Buffre as an Insert Effect on an Audio Track device, and configuring MIDI
Keyboard control:
!" #$%&$%'()*+%,-$.% ,',,/-$0 %12'&*'%&$%\=;/-%Q2&1A%;'D/1'0%&$;%/()-2*%&$%&=;/-% ]:'"% %#T% +-=%;-%
$-*%>&D'%&$%&=;/-%]:'0%+-=%(&+%&:,-%/()-2*%&%567%:--)%*-%*>'%&=;/-%*2&1A"
?" 4$%*>'%\=;/-% Q2&1A%;'D/1'0% )2',, %*>'%ML^4_%#`L65Q%G7P%K=Y-$%*-%'<)&$;%*>'%/$,'2* %'O'1*%
,'1J-$"%%
F" G2-(%*>'%H2'&*'%@'$=%I%H2'&JD'%G7%,=K ('$=0%L':'1*%MN=O2'%N'&*%5')'&*'2"P% %Q>/, %C/::%&;;%
*>'%;'D/1'%*-%*>'%2&1A%&$;%&=*-(&J1&::+%1&K:'%/*%&,%&$%/$,'2*%'O'1*"
R" H:/1A%-$%*>'%N=O5'%;'D/1'%*-%,':'1*%/*0%&$;%2/.>*%1:/1A%*-%-)'$%*>'%1-$*'<*=&:%('$="%%G2-(%*>'%
1-$*'<*=&:%@'$=0%,':'1*%*>'%MH2'&*'%Q2&1A%T-2%N=O5'P%/*'("%%Q>/, %&;;, %& %,'S='$1'2%*2&1A%J';%
*-%N=O5'%&$;%2-=*',%@#3#%;/2'1*:+%*-%*>'%;'D/1'"
a" 92',,%9:&+%-$%*>'%L'S='$1'2%Q2&$,)-2*%&$;%&,%*>'%:--)%):&+,0%,*&2*%)2',,/$.%A'+,%-$%+-=2%@#3#%
A'+K-&2;%/$%*>'%2&$.'%-T%3U!%*-%GR%*-%'$.&.'%*>'%K'&*%2')'&*'2%'O'1*"%
Page 23
Buffre Loop Start CV
v1.0.2 operation manual
23
Buffre features a Gate CV trigger output that can be used to trigger other devices that
receive Gate inputs such as the Redrum Drum Computer or Kong Drum Designer. This
allows you to layer rhythmic elements in time with looping audio. The following example
project illustrates how to set up this configuration to use Buffre as a repeating drum
trigger. For this example, the Buffre is only used as a Gate CV generator; audio will not
be processed through the device.
!" #$%&$%'()*+%,-$.%,',,/-$0%12'&*'%&%b-$.%32=(%3',/.$'2"
?" H:/1A%-$%*>'%b-$.%9&*1>%N2-C,'20%&$;%:-&;%*>'%)&*1>%Mb-$.%b/*"b-$.P%T2-(%*>' %G&1*-2+%L-=$;%
N&$A%[%b-$.%9&*1>',%;/2'1*-2+"%%
F" ^-:;% ;-C$% *>'%L>/c% b'+%*-% K+)&,,% &=*-2-=J$.% &$;% &;; % &% N=O2'% N'&*% 5')'&*'2% T2-(% *>'%
H2'&*'%@'$=%I%H2'&JD'%6O'1*,%,=K%('$="
R" ^/*%Q\N%*- %D/'C%*>'%2'&2%-T%*>'%2&1A"
a" H-$$'1*%N=O2'd,%@-;=:&J-$%4=*)=*%M8--)%L*&2*P%,-1A'*%*-%b-$.%32=(%F%e&*'%#$%,-1A'*"%
f" ^/*%Q\N%*- %2'*=2$%*-%*>'%T2-$*%2&1A%)&$':"
g" 4$%5'&,-$d,%L'S='$1'20%D'2/T+%*>&*%*>'%T-1=,%/,%,'*%*-%*>'%*2&1A%MN=O2'%!P0%&$;%,*&2*%):&+/$.%
A'+,%/$%*>' %2&$.'%-T%3!%*-%GF"% %h-=%C/:: %,''%*>'%)-,/J-$%:-1&*-2%,12-::%&$;%C/::%>'&2%&%>/ %>&*%
K'/$.%*2/..'2';%&*%*>'%K'./$$/$.%-T%'&1>%:--)%1+1:'"
\,%+-=% *2/..'2%*>'%b-$.%^/%^&*%T2-(%N=O2'0% *2+%):&+/$.%:'.&*-%$-*',"% %h-=%C/::%$-J1'%*>&*%*>'%
;/D/,/-$,%*'$;% *-%K'1-('%:',,%&11=2&*'"% %5':'&,/$.%&%b'+%K'T-2'%)2',,/$.% &$-*>'2%A'+%2'$;'2,%
(-2'%&11=2&*'%;/D/,/-$,"%%Q>/,%&:,-%&)):/',%*-%K'&*%2')'&*%*2/..'2,"
Page 24
Live Sampling Buffre
v1.0.2 operation manual
24
After some experimentation with Buffre, you will come to see that it has amazing
creative properties for sound manipulation and sound design, especially when you start
working with loop segments that are in the range of 1/128th notes to 1/1024th notes.
This is the realm of granular synthesis where looped audio takes on a new character.
Experimenting with these types of tones often leads to new ideas, and it is important to
have a way to quickly capture and save ideas. Buffre’s FX sends were designed to
provide an access point for resampling, and the example below demonstrates how to
configure this setup and start building a palette of lo-fi bitcrush drum tones.
!" #$%&$%'()*+%,-$.%,',,/-$0%12'&*'%&%32"41*-567%&$;%:-&;%&%T'C%;2=(%:--),"
?" G2-(%*>'% H2'&*'%@'$=% I% H2'&JD'%G7% ,=K('$=0% L':'1*% MN=O2'% N'&*% 5')'&*'2P %*-% &;;% *>'%
;'D/1'%&,%&$%/$,'2*%'O'1*%K'*C''$%32"41*-567%&$;%*>'%@/<%H>&$$':"
F" 92',,%*>'%Q\N%A'+%*-%i/)%*-%*>'%2'&2%-T%*>'%2&1A"
R" 8-1&*'%*>'%L&():/$.%#$)=*%-$%*>'%\=;/-%#[4% ;'D/1'0%&$;%;/,1-$$'1*%*>'%1&K:',%1-(/$.%T2-(%
\=;/-%#$)=*%![?%B;'T&=:*%,'W$.,E"
a" H-$$'1*%N=O2'%G7%L'$;%!%4=*)=*, %*-%*>'%\=;/-%#[4%L&():/$.%#$)=*,"%Q>'$%>/*%Q\N%*-%i/)%K&1A%
*-%*>'%T2-$*%-T%*>'%2&1A"
f" H2'&*'%&%5'32=(% 32=(%H-()=*'2%&$;% T2-(%*>'%1-$*'<*=&:%('$=0%L':'1*%M5','*%3'D/1'P%*-%
1:'&2%&::%)2':-&;';%,'W$.,"
g" 4$%32=(%H>&$$':%!0%,'*%;2=(%-$%'D'$*,%-$%,*'),%!0%j0%&$;%!a"
Z" %92',,%9:&+%-$%*>'%Q2&$,)-2*0%&$;%*>'%41*-567%:--),%,>-=:;%K'./$%*-%):&+"
j" L'*%N=O2'%*-%9:&+%@-;'%F%U%H=22'$*0%9/*1>%*-%&K-=*%U!!kk%1'$*,0%&$;%,'*%*>'%N/*12=,>%&(-=$*%
*-%Fal"%%Q>'$0%6$&K:'%4$'UL>-*%(-;'%&$;%,'*%*>'%@&$=&:%Q2/..'2%8'$.*>%*-%&$%![Z*>%`-*'"%
!k"92',,%*>'%N=O2'%@&$=&:%Q2/..'2%K=Y-$%*-%&=;/J-$%>-C%*>'%:--)%,-=$;%/,%&O'1*';"%%#*%,>-=:;%
,-=$;%.:/*1>+%&$;%:-]%:/A'%&$%-:;%1-$,-:'%D/;'-%.&('"%%h-=%C/::%&:,-%$-J1'%*>&*%C>'$%N=O2'%/,%
*2/..'2';0%&%,/.$&:%&))'&2,%&*%*>'%L&():/$.%#$)=*"
!!"4$%5';2=(%H>&$$':% !0%)2',, %*>'%ML*&2*%L&():/$.P%K=Y-$% &$;%& %(/$/%2'1-2;'2%C/$;-C% C/::%
&))'&2"
!?"92',,% *>'% @&$=&:% Q2/..'2% N=Y-$% -$% N=O2'%&$;% S=/1A:+% 2':'&,'%/*"% % 4$% *>'% 8/D'% L&():/$.%
C/$;-C0%)2',,%*>'%,*-)%K=Y-$"%%5'&,-$d, %,&():'2%&=*-(&J1&::+%&;m=,*,%T-2%2'1-2;';%,/:'$1'0%
,-%*>'%$'C%.:/*1>+%;2=(%*-$'%C/::%):&+%/$%J('%C/*>%*>'%$'C%:--)"
!F"H-$J$='%*>/,%)2-1',,%-$%*>'%2'(&/$/$.%5';2=(%H>&$$':,%C/*>% ;/O'2'$*%N=O2'%,'W$.,%:/A'%
>/.>%)/*1>%:--),0%)'$;=:=(%:--),%&$;%2'D'2,'%>/*,"
Q-% (/.2&*'% +-=2% $'C% ,&():', % &$;% ;2=(% )&Y'2$,0% =,' %*>'% ';/*% ('$=% T=$1J-$,% *-% 1-)+% *>'%
'$J2'%5';2=(%/$,*2=('$*%T2-(%-$'%5'&,-$%%,-$.%,',,/-$%*-%&$-*>'2"
Page 25
Live Sampling Buffre (cont.)
v1.0.2 operation manual
25
Buffre FX Send Outputs connected to the Reason Sampling Inputs. When the loop
engine is engaged, audio from the FX Send outputs is directed to the sampling inputs
allowing you to capture looped, distorted, or reversed audio snippets created in Buffre.
Page 26
Pattern Sequencing Buffre
v1.0.2 operation manual
26
Buffre is designed to take advantage of the modular routing system in Propellerhead
Reason, allowing you to automate the triggering process with any of the step
sequencing devices. Like Reason’s instrument devices, Buffre requires both a NOTE
CV and GATE connection from a sequencer. The CV/Gate inputs only respond to
events in the Range of D1 to F3, and the example below demonstrates how to automate
Buffre with a Matrix Pattern Sequencer.
!" #$%&$%'()*+%,-$.%,',,/-$0%12'&*'%&%32"41*-567%&$;%:-&;%&%5'1+1:'%32=(%8--)"
?" G2-(%*>'%H2'&*'%@'$=%I% H2'&JD'%G7% ,=K('$=0%L':'1*% MN=O2'% N'&*%5')'&*'2P"% % N=O2'% C/::%
&=*-(&J1&::+%K'%/$,'2*';%K'*C''$%32"41*-567%&$;%*>'%@/<%H>&$$':"
F" 4$%N=O2'd,%)&$':0%,'*%*>'%9:&+%@-;'%*-%FX%H=22'$*"%%&$;%3/,&K:'%Q2/):'*,%@-;'"
R" H:/1A% -$% *>'%N=O2' %5&1A% 6&2% *-%,':'1*% /*"% %h-=% C/::%,''% &% K-=$;/$.%K-<% &))'&2% &2-=$;%*>'%
;'D/1'0%*>'$%T2-(%*>'%H2'&*'%@'$=%I%nJ:/J',%,=K('$=0%,':'1*%M@&*2/<%9&Y'2$%L'S='$1'2P"
a" 92',,%*>'%Q\N%A'+%*-%i/)%*>' %2&1A%&$;%1-$]2(%*>'%&=*-2-=J$.%1-$$'1J-$,%T2-(%*>'%@&*2/<%
9&Y'2$%L'S='$1'2%*-%N=O2'"%%Q>'2'%,>-=:;%K'%&%1&K:'%T-2%`-*'%Ho%&$;%-$'%T-2%e&*'%Ho"
f" G:/)%*>'%2&1A%K&1A%*-%T2-$*%D/'C%&$;%$&D/.&*'%*-%*>'%@&*2/<%)2-.2&(('2"
g" ^-:;%*>'%L>/c%b'+%&$;%H:/1A%-$%*>'%@&*2/<% e&*'%L'.('$*,%T-2%,*'),%!%*-%F0%a%*-%g0%j%*-%!!0%&$;%
!F%*-%!a"%%Q>/,%C/::%12'&*'%T-=2%S=&2*'2%$-*'%,*'),%/$%*>'%@&*2/<"
Z" L'*%*>'%@&*2/<% 41*&D'%,:/;'2%*-%41*&D'%!%&$;%,'*%*>'%D&:='%-T%*>'%]2,*%!f%,'.('$*,%*-%N!"% %N!%
1-22',)-$;, %*-%&%![!f%$-*'"%%\%>&$;+%*2/1A%/,%*-%'$&K:'%*>'%@&*2/<%8/$'%*--: %K+%>-:;/$.%;-C$%
*>'%,>/c%A'+"%H:/1A%-$%*>'%]2,*%N!%,'.('$*%*>'$%;2&.%*-%*>'%:&,*%N!%,'.('$*"%%
j" 92',,%*>'%9:&+%N=Y-$%-$%*>'%Q2&$,)-2*%N&2%&$;%:/,*'$%*-%>-C%N=O2' %1>-),%=)%*>'%:--)% /$*-%%
T-=2%
Pattern Sequencing Buffre (cont)
v1.0.2 operation manual
27
Buffre only responds to the first Note CV received. In the illustration below, the Matrix
Pattern sequencer plays a scale from D1 to G#1 while the gate value is sustained for 12
steps. For the duration of the 12 steps, Buffre will only play a half note loop of eight
steps. This corresponds to the first Note CV value received, D1.
!!" H-$J$='% C/*>% *>' % 1-$].=2&J-$% 12'&*';% K'T-2'% C/*>% N=O2'% *2/..'2/$.% T-=2% 
Glitch Rhythm Machine
v1.0.2 operation manual
28
Buffre is useful for creating more experimental sounds, especially when using very short
and fast loop segments. Because Buffre functions like a real-time audio sampler, small
audio clips can become the source for completely new tones. The following example
demonstrates a method of manipulating audio “grains” in a rhythmic manner using
Buffre and Matrix Pattern Sequencers to automate looping and “Advance Position”
functions.
!" #$% &$% '()*+% ,-$.% ,',,/-$0% 12'&*'% &% 32"41*-567% 8--)% 9:&+'20% &$;% -)'$% *>'% :--)% -2% )&*1>%
K2-C,'2"
?" `&D/.&*'%*-%*>'%5'&,-$%G&1*-2+%L-=$;%N&$A%I%32%5'<%9'21=,,/-$%8--),%I%U%b'/*>%8'N:&$1%Bb8NE%
I%5=KK'2%9'21%;/2'1*-2+0%&$;%:-&;%*>'%:--)%M921kRp5=KK'2p!afpb8N"2<?P
F" H2'&*'%&%N=O2'%N'&*%5')'&*'20%&$;%D'2/T+%*>&*%/*d,%/$,'2*';%K'*C''$%*>'%32"41*-567%-=*)=*,%
&$;%*>'%@/<%H>&$$':%;'D/1'%/$)=*,"
R" H2'&*'%&%@&*2/<% 9&Y'2$%L'S='$1'2%&$;%D'2/T+%*>&*%/*d,%1-$$'1*';%*-%*>'%N=O2'%L'S='$1'2%Ho%
&$;%e&*'%/$)=*%,-1A'*,"
a" 4$%q@&*2/<%!d%,'*%*>'%41*&D'%,:/;'2%*-%?%&$;%,'*%&::%-T%*>'%$-*'%D&:=',%*-%H?%B*>'%K-Y-(%2-CE0%
&$;%)2',,%*>' %Q#6% K=Y-$% &$;%1-$D'2*%*>'% .&*'%'D'$*,%*-%J';%$-*',%T2-( %L*')% !%*-%L*')%!a"%%
8'&D'%L*')%!f%&%$-2(&:%.&*'%'D'$*"
`-C%)2',,%):&+%-$%*>'%L'S='$1'2%Q2&$,)-2*"%%h-=%C/::%>'&2%N=O2'%1&)*=2/$.%&$;%:--)/$.%& %,>-2*%
&=;/-%.2&/$%&*%*>'%K'./$$/$.%-T%'&1>%('&,=2'"%%
Page 29
Glitch Rhythm Machine (cont)
v1.0.2 operation manual
29
H-$J$='%T2-(%*>'%)2'D/-=,%'<&():'%C/*>%*>'%T-::-C/$.%1>&$.',X
f" %L'*%*>'%N=O2'%9/*1>%&(-=$*%*-%&K-=*%?Rkk%1'$*,"
g" H2'&*'%&%,'1-$;%@&*2/<% 9&Y'2$%L'S='$1'2" %% ^/*%*>'%Q\N% A'+%*-%D/'C%*>'%2'&2%-T%*>'%2&1A%&$;%
1-$$'1*%*>'%q@&*2/<%?d%e&*'%-=*)=*%*-%*>'%N=O2'%!%q\;D&$1'%r=&2*'2%`-*'d%/$)=*"
Z" Q\N%K&1A%*-%*>' %T2-$*%-T%*>'%2&1A0%&$;%';/*%*>'%,'S='$1'2%.&*'%'D'$*,"%% 92-.2&(% .&*'%'D'$*,%
-$% ,*')%!0% ,*')%a0%,*')% j% &$;%,*')% !F"% %\::% -*>'2%.&*'% ,*'),%,>-=:;%K'%-O"% % B,''%/(&.'%-$%
)2'D/-=,%)&.'E"
j" 92',,%9:&+% -$ %*>'% L'S='$1'2%Q2&$,)-2*%*-% >'&2%*>'%.:/*1>/$.% 2>+*>(/1%:--)%*>&*% 1>&$.',%-$%
'&1>%K'&*"%
\,%*>'%:--)%):&+,0%*2+%&;m=,*%*>'%9/*1>%)&2&('*'20%8'$.*>%LC'')0%5&$;-(/s'%&$;%5':'&,'"% % \;;%
,-('%.:/*1>/$.%K+%&;m=,J$.%*>'%N/*%H2=,>%C>'':"%%#T%+-=%>&D'%*>'%92-)'::'2>'&;,%9=:,&2%3=&:%8G4%
;'D/1'0% *2+% (-;=:&J$.% *>','%)&2&('*'2,% C/*>% 1-$*2-:% D-:*&.'% 1-$$'1J-$,"% % \:,-0% *2+% ,'W$.%
;/O'2'$*%M\;D&$1'P%.&*'%*2/..'2,%*-%1>&$.'%*>'%2',&():/$.%)&Y'2$"
Page 30
Beat Repeater on a Session
v1.0.2 operation manual
30
Beat Repeater effects applied to an entire song session are often a highly desired effect
to create transitions and dramatic “DJ” effects. The recommended approach to applying
beat repeater effects globally to a track is to work with an unmastered stereo mixdown
in a new Reason song session file. This may seem like an extra workflow stage, but
having committed to a mix will allow you more flexibility in applying final arrangement
effects like beat repeats and stutters. In some cases, it is more convenient to apply
Buffre to the mix in your working session file, and it is recommended that you place the
device ahead of your mastering chain. The beat repeater effects will alter the levels of
your mix, so the final compression and mastering stages will help govern the signal
level to prevent clipping.
!" #$% +-=2% 5'&,-$% L-$.% L',,/-$0% N+)&,,% \=*-2-=J$.% &$;% H2'&*'% &% N=O2'% N'&*% 5')'&*'2"%%
5')-,/J-$%N=O2'%,-%*>&*%/*%,/*,%;/2'1*:+%=$;'2%*>'%@&,*'2%L'1J-$%3'D/1'"
?" H:/1A%-$%*>'%L>-C%#$,'2*%G7%N=Y-$%-$%*>'%@&,*'2%L'1J-$%*-%'<)&$;%,=K2&1A%1-$*&/$/$.%+-=2%
(&,*'2/$.%1>&/$"%%^/*%*>'%Q\N%A'+%*-%D/'C%*>'%2'&2%-T%*>'%2&1A"
F" 9-,/J-$% *>'% 1=2,-2% -D'2% *>'% #$,'2*% G7% MQ-% 3'D/1'P% ,-1A'*,% *-% ]$;% *>'% ]2,*% ;'D/1'% /$% *>'%
(&,*'2/$.% 1>&/$"%%N=O2'%,>-=:;%K'%1-$$'1*';%&*%*>/,%)-/$*%/$%*>'%,/.$&:%)&*>"%%@&A'%&%$-*' %-T%
*>'%*&2.'*%;'D/1'%K'T-2'%*>'%$'<*%,*')%B@H:&,,%6r0%H-()2',,-20%'*1"E%
R" 3/,1-$$'1*% *>'% 1&K:',% T2-(% *>'% #$,'2*% G7% MQ- % 3'D/1'P% ,-1A'*,0% &$;% *>'$% 1-$$'1*% *>','%
,-1A'*,%*-%*>'%N=O'2%\=;/-%#$%,-1A'*,"
a" H-$$'1*% *>'% N=O2' %\=;/-% 4=*)=*,%*-%*>' %]2,*%;'D/1'%/$% *>'%(&,*'2/$.% 1-$].=2&J-$%,/.$&:%
)&*>%B@H:&,,%6r0%H-()2',,-20%'*1"E
f" ^/*%*>'%Q\N%A'+%*-%D/'C%*>'%T2-$*%2&1A%)&$':"%% `-C%+-=%1&$ %5=$%*>'%*2&1A%&$;%*2/..'2%N=O2'%
T2-(%&%@#3#%b'+K-&2;"
Page 31
MIDI Quantize Combinator
v1.0.2 operation manual
31
The Thor Polysonic Synthesizer Step sequencer can quantize events that trigger Buffre
or other processes in Reason. When the Reason transport is running, Thor’s Step
Sequencer will only engage at a time division set by the sync rate value. For example,
if sync rate is set to 1/1, the sequencer will start at the beginning of the next measure
after the “Run” button is enabled; or if sync rate is set to 1/4, the sequence begins, in
time with the transport, at the beginning of the next quarter note beat. The following
example demonstrates how to configure Buffre to work with a Thor Quantizer patch.
!" L*&2*%C/*>%&$%'()*+%5'&,-$%,-$.%,',,/-$0%&$;%12'&*'%&%32"41*-567%8--)%):&+'2"
?" 4$%*>'%3241*-5670%1:/1A%-$%*>'%)&*1>%K2-C,'2%&$;%:-&;%*>'%T-::-C/$.%)&*1>X%5'&,-$%G&1*-2+%
L-=$;%N&$A%[%32%41*-%5'<%9&*1>',%[%32=(,%[%6:'1*2-$/1 %32=(,%[%UN-(K%LS=&;%BNLrE%[%!"#$%
&'()*%+%!,)-.%//01/2/%$3#%1/4*5,6
F" H:/1A% -$%*>'% 32"41*-5'<% 3'D/1'% *-%,'*% *>'% T-1=,% B1:/1A% -$ % &% $-$% 1-$*2-:% &2'& %:/A'%*>'% 2&1A%
,12'C,%-2%*>'%J*:'%.2&)>/1,E"
R" H2'&*'%&%N=O2'%N'&*%5')'&*'2"% %N=O2'%,>-=:;%K'%/$,'2*';%K'*C''$%*>'%32"41*-567%-=*)=*,%
&$;%*>'%(/<%1>&$$':%;'D/1'%/$)=*,"
a" 5/.>*% H:/1A% -$%N=O2'0% &$;%-$% *>'%1-$*'<*=&:%('$=0% ,':'1*%*>'%/*'(%MH-(K/$'"P% % N=O2'%C/::%
$-C%K'%$',*';%/$,/;'%&%1-(K/$&*-2%,=KU2&1A"
f" #$,/;'% *>' % H-(K/$&*-2% ,=KU2&1A0% 12'&*'% &% Q>-2% 9-:+,-$/1% L+$*>',/s'2"% % 4$:+% *>'% ,*')%
,'S='$1'2%/,%=,';0%,-%/*d,%=$$'1',,&2+%*-%2-=*'%&=;/-%1-$$'1J-$,"%%
g" H:/1A% -$% *>'% Q>-2d,%ML>-C% 92-.2&(('2P%K=Y-$0% &$;% *>'$%2','*% *>'% )&*1>X% % 5/.>*% H:/1A% -$%
Q>-2%&$;%,':'1*0%M5','*%3'D/1'P"
Z" 4$%*>'%Q>-2%@-;=:&J-$%N=,%5-=J$.% L'1J-$0% ,'*%@-;%!%L-=21'%*-% %@#3#% b'+Ue&*'t%@-;%!%
\(-=$*%*-%!kkt%&$;%@-;%!%3',J$&J-$%*-%L*')%L'S='$1'2UQ2/."
j" L'*%@-;%?%L-=21'%*-%@#3#%b'+U`-*'t%@-;%?%\(-=$*%*-% !kkt% &$;% @-;% ?%3',J$&J-$%*-%L*')%
L'S='$1'2UQ2&$,)-,'"
!k"%4$%*>' %Q>-2%L*')%L'S='$1'20%L'*%5=$%@-;'%*-%M5')'&*Pt%,'*%*>'%5&*'%*-%
MIDI Quantize Combinator (cont)
v1.0.2 operation manual
32
Q>'%@#3#%r=&$Js'%H-(K/$&*-2%)&*1>%C/:: %:-1A%*>'%,*&2*%-T%K'&*%2')'&*%'D'$*,%*-%J('%;/D/,/-$,%
,'*%-$%*>'%Q>-2%L*')%L'S='$1'2"%%Q>'%'<&():'%&K-D'%/,%,'*%*-%
Loop Artifacts
v1.0.2 operation manual
33
The nature of the beat repeater effect places the highest emphasis on timing, but this
comes with a certain cost to other aspects which sometimes includes sonic quality.
Buffre’s loop engine does what it can to limit pops and clicks when cycling from the end
point to the start point of an audio segment, but there are situations where this simply
cannot be avoided.
The biggest culprits of artifacts are pure tones or bass heavy material. The worst case
would be low frequency sine waves. If you find a situation where Buffre cannot process
the loop without a very hard zero crossing glitch, adding a high pass filter or EQ with a
low shelf cut may help.
Insert a MClass Equalizer before Buffre and shelve about -12dB around 130Hz. To
compensate for the low end loss, add a second MClass Equalizer after Buffre with
+12dB of gain at the same 130Hz center frequency. Naturally the program audio will be
changed due to the equalization, but the tradeoff may be worth the compromise.
Page 34
MIDI Controller Chart
v1.0.2 operation manual
34
MIDI Controller #
Buffre
Pitch Bend
Length Sweep
1
BitCrush Mod Amount
7
Volume
9
Enabled
12
Manual Trigger
13
Manual Length
14
Reverse
15
Loop Mode (Autorepeat)
16
One-Shot Mode
17
Mode Knob
18
Triplets On
19
Pitch
20
Pitch Steps
21
Pitch Snap
51
Randomize
52
Random Link
23
Release
24
Gate On
25
Gate Start
26
Gate Length
27
Reset Position
28
Position Advance
29
Position Backward
39
FX Send 1 On
40
FX Send 1 Level
41
FX Send 2 On
42
FX Send 2 Level
43
FX Send 3 On
44
FX Send 3 Level
Full MIDI implementation details
have yet to be determined. These
a r e t h e p r e l i m i n a r y s e t t i n g s
established for Buffre but are subject
to change.
Page 35
Remote Mapping Chart
v1.0.2 operation manual
35
Buffre
Remote Item
Length Sweep
Pitch Bend
Bit Crush Mod Amount
Mod Wheel
Volume
Volume
Manual Trigger
Trigger
Manual Length
Trigger Length
Reverse
Reverse
Loop Mode (Autorepeat)
Loop On
One-Shot Mode
OneShot
Mode Knob
Play Mode
Triplets On
Triplets
Pitch
Pitch
Pitch Steps
PitchSteps
Pitch Snap
Pitch Snap
Randomize
Random
Random Link
Link Random
Release
Release
Gate On
Gate Enable
Gate Start
Gate Start
Gate Length
Gate Length
Reset Position
Reset Position
Position Advance
Position Advance Quarter
Position Backward
Position Backward Quarter
FX Send 1 On
Aux1 On
FX Send 1 Level
Aux 1
FX Send 2 On
Aux2 On
FX Send 2 Level
Aux 2
FX Send 3 On
Aux3 On
FX Send 3 Level
Aux 3
R e m o t e p r o p e r t i e s f o r
modifying control scripts.
Page 36
Remote Map Hack
v1.0.2 operation manual
36
Remote Item
Pitch Bend
Mod Wheel
Volume
Trigger
Trigger Length
Reverse
Loop On
OneShot
Play Mode
Triplets
Pitch
PitchSteps
Pitch Snap
Random
Link Random
Release
Gate Enable
Gate Start
Gate Length
Reset Position
Position Advance Quarter
Position Backward Quarter
Aux1 On
Aux 1
Aux2 On
Aux 2
Aux3 On
Aux 3
Code Snippet example for modifying remote maps.
This is for advanced Reason users only.
Scope! Peff! com.peff.Buffre
//! Control Surface Item! Key! Remotable
Item! Scale! Mode
Map! CC 13! ! Trigger
Map! CC 14! ! Reverse
Map! CC 17! ! Play Mode
Map! CC 19! ! Pitch
Map! CC 20! ! PitchSteps
Map! CC 23! ! Release
Map! CC 15! ! OneShot
Map! CC 55! ! Reset Position
Map! CC 07! ! Volume
Map! CC 57! ! Position Advance Quarter
Map! CC 56! ! Position Backward Quarter
Map! CC 39! ! Aux1 On
Map! CC 40! ! Aux2 On
Map! CC 41! ! Aux3 On
For more information on modifying Remote maps,
Koshdukai offers some great advice:
http://koshdukaimusicreason.blogspot.pt/2012/06/
rack-extensions-remote-side-of-it.html
Page 37
BUFFRE OPERATION MANUAL DRAFT 1.0.1 2012/07/11
v1.0.2 operation manual
37
Be Cool and Make Music!
TECHNOLOGY
Propellerhead REASON and Rack Extensions
Propellerhead Software AB, Stockholm, Sweden
PEFF - Rack Extension Design and Development
Hayden Bursk, Kurt Kurasaki, Thomas Merkle, Wolfgang Merkle
made in Sweden, Germany, and California
COPYRIGHTS
© 2012 PEFF, All Rights Reserved.
http://peff.com
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