Reason 13.1 Operation Manual
DAW | Rack Plugin
Mimic Creative Sampler
The Mimic Creative Sampler is a powerful yet very straight-forward sampler, tailor-made for quick and easy triggering, chopping and manipulation of samples. It features eight sample slots, where each slot can hold one sample. Each slot also has its own complete synth parameters setup, with pitch controls, filter, envelopes, LFO and effects.
You could either load a sample from your computer or sample straight into Mimic (Reason stand-alone only). You can then select various sample playback modes and high-quality stretch algorithms to manipulate and process the audio. You could also use Mimic as a traditional sampler and just play back samples in a regular “tape-style” fashion.
Mimic also features a great-sounding “lo-fi style” multi-effect to spice up your sounds even more.
Don’t forget to check out the Mimic video tutorial here!
Mimic signal flowchart.
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Mimic features eight Slots, where each Slot holds a complete configuration of sample parameters and panel parameter settings.
Each Slot features a Sample section, where you can load your sample - or sample your own (Reason stand-alone only). You can then select if you want to play back the sample as Slices or Pitched (chromatically). You can also choose among various sample Stretch algorithms. The signal is then routed through a complete configuration of synth parameters, such as Pitch, Filter, Amp and Effects.
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Depending on the selected Slot Mode, the signals from the Slots are be routed a bit differently.
In Pitch Mode and Slice Mode, only one single Slot can be played back at a time.
In Multi Slot Mode and Multi Pitch Mode you can play back up to eight Slots simultaneously.
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The synth sections in Mimic’s eight Slots are described in “Panel reference”.
#Loading and saving patches
A Mimic patch contains the parameter settings for all used Slots, i.e. up to eight complete parameter setups. Loading and saving patches is done in the same way as with any other internal Reason device, see “Loading patches” and “Saving patches” for details.
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Like with the other sampler devices in Reason, the patch does not include the actual sample - only a
reference to it. Therefore, the sample has to be stored separately (self-contained with the song, or already on disk or in a ReFill on your computer).
#Global output controls
#Master Volume
This is the main stereo output volume control and controls the volume of all eight Slots together.
#Slot Mode
Mimic has four Slot Modes, which defines how the sample of each Slot should play back - and also if you can use one or several Slots simultaneously:
#Pitch Mode
In Pitch Mode you select one of the eight Slots for melodic playback (playing the sample from the start to the end locators). The sample can then be played chromatically pitched over the entire keyboard range.
#Slice Mode
In Slice Mode you select one of the eight Slots for playback, and slice a (longer) sample, manually and/or automatically. The slices are then triggered from the keyboard (chromatically, with the leftmost slice playing back from note C1) without affecting the original pitch of the sample. See “Slices” for more details.
#Multi Slot Mode
In Multi Slot Mode different keys (C-G in each octave) triggers Slots 1-8 (from the start to the end locators), drum-machine style - without affecting the sample pitches. This is displayed in the Note/range indicator as follows (the currently selected Slot is high-lighted on the keyboard - the others are dark blue):
Multi Slot Mode with samples loaded in Slots 1-4.
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Multi Slot Mode works great with pad controllers.
#Multi Pitch Mode
Multi Pitch Mode with samples loaded in Slots 1-4, played back in a layered fashion.
In Multi Pitch Mode you can play back up to eight samples (one sample per Slot) simultaneously, for melodic playback (playing the sample from the start to the end locators). You can set different keyboard ranges (overlapping and/or adjacent) for the eight Slots and then play back the samples chromatically pitched. You can set the desired keyboard range in the Note/range indicator as follows (the currently selected Slot is high-lighted on the keyboard - the others are dark blue):
Setting the key range for the currently selected Slot.
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Click the desired Slot button (see “Slot Select” below) to select it.
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Drag the left and right note range markers to set the desired note range.
The minimum “range” for a Slot is one note.
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Click another Slot button and set a new desired note range.
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Note that Slots can have overlapping note ranges (also completely overlapping so that you could play all eight Slots together in a layered fashion).
#Slot Select
Mimic has eight Slots, which can hold one sample each. Each Slot also has a complete parameter setup on the Mimic front panel, so each slot can have its own unique parameter configuration.
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Click the desired Slot Select button to bring up all parameters for that slot, including the sample and its settings.
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Note that in Pitch Mode and Slice Mode (see above), only one single Slot can play back its sample at a time (as indicated by the grayed out waveforms below the other Slot Select buttons).
#Performance and “play” controls
Each of the eight Slots has their own individual set of performance/play controls on the front panel:
#Porta
Portamento makes note pitches glide from previous notes to new ones, at the time set with the Time knob. Portamento can be used in all Key modes (see above).
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When On in Poly Key Mode (see below), the pitches will glide from any of the available voices.
The results will be unpredictable since there is no way of controlling from which note(s) the glide(s) will commence. The effect is very nice, though.
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When On in Mono Retrig or Mono Legato Key Mode (see below), the pitch will glide between consecutive notes.
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In Auto mode, the pitch will glide between consecutive monophonic notes only when you play legato. If you have selected Poly Key Mode (see below), Auto will have no effect at all.
If you release the previous key before hitting the new key, there will be no portamento effect.
#Key Mode
Here you choose how Mimic should respond to MIDI Note data:
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Poly
Select this if you want to play Mimic polyphonically.
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Mono Retrig
Select this if you want to play Mimic in monophonic mode and always retrigger the envelopes as soon as you play a new note.
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Mono Legato
The Mono Legato mode is also monophonic. However, if you play a new note without having released the previous one, the envelopes and sample playback position won’t start over.
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Also see the description of the “Global Position”, which allows new notes to continue playing at the current sample playback position (and not restart playback).
#Pitch Range
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Set the desired Pitch Bend range for the “Pitch Bend” wheel with the up/down buttons, or by click-holding on the display and dragging up/down.
Range: +/-24 semitones (+/-2 octaves) in steps of +/-1 semitone.
#Pitch Bend
The Pitch Bend wheel can be used for bending note pitches up and down. Mimic also responds to Pitch Bend MIDI data from a connected MIDI master keyboard. You set the desired Pitch Bend Range with the “Pitch Range” control above the Pitch Bend wheel.
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Note that if you have selected the Tape Stretch algorithm (see “Tape”), pitch bending the sample will also
affect its playback speed.
#Mod Wheel
The Mod Wheel can be used for modulating a number of parameters in the eight Slots of Mimic. Use the Mod Wheel as a source parameter for the panel parameters that feature modulation source drop-down selectors.
#LFO Scale
The LFO Scale knob can be used for scaling the LFO amount with the Mod Wheel - perfect for gradually introducing Vibrato effects, for example. If the LFO Scale knob is set to 100% the LFO Amount will be 0 when the Mod Wheel is at 0. See “The LFO section” for more details about the LFO.
#The Sample section
Here is where you load/sample the audio for the currently selected Slot. The Waveform display differs somewhat, depending on which Slot Mode you have selected (see “Slot Mode”).
A sample loaded in a Slot with Slice Mode selected.
#Loading/sampling
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Load a sample using drag & and drop, or by clicking the Browse sample button, or by using the Up/Down buttons to scroll and load a sample from the currently selected folder.
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Drag a sample from the browser and drop on a Slot Select button, to load the sample in the desired Slot.
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Alternatively, sample straight into Mimic by clicking the Start sampling button (Reason stand-alone only):
See the “Sampling” chapter for more information about setting up and using Reason for sampling.
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It’s possible to load/sample stereo signals. However, the waveform will always be displayed as a mono signal, regardless if it’s mono or stereo.
#Root Key
A sample is automatically analyzed for its original pitch at the Sample Start position. The analyzed pitch is displayed in the Root Key section. If you move the Sample Start marker, the sample is automatically re-analyzed.
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Click the “SET” button to use the analyzed Root Key.
This will automatically place the analyzed Root Key on the correct note on the keyboard, as indicated by an orange key in the Note/range indicator below the Waveform display.
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Alternatively, set the Root Key manually by dragging up/down in the “Root” and “Tune” (cent) boxes:
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Note that the Root Key function only works in Pitch Mode and Multi Pitch Mode.
#Setting the sample range
First you could decide how much of the original sample you want to use - and where in the sample you want to work:
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Zoom and/or scroll in the Sample Overview to define the Sample range you want to work in.
To scroll, click and drag sideways between the dark yellow sample range markers. To zoom, click and drag any of the sample range markers sideways. The set Sample range is automatically updated and displayed in the waveform display.
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To work in the entire Sample range, drag the left Sample range marker all the way to the left, and the right Sample range marker all the way to the right, in the Sample Overview.
#Zooming in the Waveform Display
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Click and hold the mouse button anywhere in the waveform display, then drag down to zoom in, and up to zoom out in the waveform.
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Dragging sideways in the Waveform Display will scroll left/right.
#Setting the sample start and end
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Drag the Start and End marker handles to where you want the sample to begin and stop playing back.
Note that the Start and End markers cannot be set in reversed order. If you want to play the sample backwards, from the End marker to the Start marker, click the Reverse button (see “Reverse”).
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If you drag and move the Start/End marker up into the Slice Marker area above the waveform, the Start/End marker will snap to the closest slices. This works in all modes, not just in Slice Mode:
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Alternatively, double click in the Waveform Display to position the Start marker. Hold down [Shift] and double click to position the End marker.
#Previewing samples
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Preview the sample by holding down [Option]/[Alt] and clicking at the desired position in the Waveform Display.
The sample will play back for as long as the mouse button is depressed.
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It’s possible to automate the sample start and end settings, see “Automating the sample Start and End markers”.
#Loop and Loop Length
It’s also possible to loop (Forward Loop) samples - or slices in Slice Mode. The loop always happens at the end of the sample/slice. In all modes except for Slice Mode the Loop Length is visually indicated with a transparent red region in the Waveform Display, so you can see exactly where the loop is.
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Enable Loop by clicking the Loop LED.
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Adjust the Loop Length by turning the Length knob, or by holding down [Command]/[Ctrl] and clicking/dragging sideways in the waveform display:
If you are playing back the sample reversed (see “Reverse”) the looped region originates from the Start Marker instead and is displayed in transparent blue.
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In Slice Mode the looped region is not indicated visually in the Waveform Display.
#Start Position
The Start Position section contains controls for determining where the sample/slice playback should begin, and in which direction the sample/slices should be played back.
#Global Position
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Click the Global Position LED to start the playback of new/additional voices from the global position, i.e. from where the red Position marker is currently positioned in the Waveform Display:
This function is great for polyphonic rhythmic sounds, where you want to have all the voices synced in time.
If not active, new/additional voices will always start playing back from the blue Sample Start marker.
#Reverse
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Click the Reverse LED to have the sample/slices play back backwards, from the end to the start.
#Start Position Mod
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Turn the Mod knob to set a modulation amount for the sample/slice playback start position.
Note that the Mod amount is bipolar (-/+) so that you can modulate the start position either earlier or later than the default start position.
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Select a Modulation source from the drop-down selector, to modulate the sample/slice start position.
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The Start Position Modulation behavior also depends on the “Snap to Slices” setting described below.
#Snap to Slices
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Click the Snap to Slices LED to always start the playback from a Slice Marker (and not from somewhere in between Slice Markers).
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Note that this function is only useful in when modulating the Start Position (see above) in Pitch Mode, Multi Slot Mode and Multi Pitch Mode, since the Start Position always snaps to slices in Slice Mode (see “Slice Mode”).
#Speed and Speed Mod
The Speed control determines how fast the play position (“playhead”) moves in the waveform.
#Speed
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Set the sample playback speed with the Speed knob.
Depending on which Stretch type (see “Stretch”) is currently selected, the sonic result will vary. If you have selected the Tape Stretch type (see “Tape”), the Speed knob also affects the pitch. Note that the Speed can be set all the way down to 0%, i.e. “stop”. Great for Tape Stop effects in Tape mode and for static playback in other Stretch types, for example.
#Speed Mod
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Modulate the Speed with the Mod knob.
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Assign a modulation source from the drop-down selector next to the Mod knob.
For example, selecting an Envelope as a modulation source could cause the playback speed to start fast and gradually slow down when you hold a note - or vice versa.
#Stretch
Mimic features five different Stretch types, which can be selected from the drop-down selector. Depending on the selected Stretch type, there are also some additional controls to modify the sample characteristics.
#Tape
This is the good old “tape recorder” type, where speed and pitch are coupled. This means that to achieve a higher pitch you simply increase the playback speed of the sample/slices - and vice versa.
With the Tape stretch type selected, there is a Loop X-Fade knob present. This controls the crossfade amount when the Loop function is active for the sample/slices (see “Loop and Loop Length”).
If Loop is off, the Loop X-Fade knob has no effect.
#Advanced
This is a high-quality stretch algorithm suitable for most type of polyphonic and complex audio material.
With the Advanced stretch type selected, there is a Preserve Transients button present. Transients are regions in the sample where the level quickly goes from quiet to loud, for example in percussive hits and other types of “attacks”.
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Click the Preserve Transients button to preserve any transients in the sample/slices.
When off, any transients will be “smeared out” and less prominent, which might be desired in some situations.
#Melody
This is the Melody stretch type used for audio in the Reason sequencer, i.e. a high-quality stretch algorithm suitable for monophonic audio material.
With the Melody stretch type selected, there is a Preserve Transients button present.
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Click the Preserve Transients button to preserve any transients in the sample/slices.
When off, any transients will be “smeared out” and less prominent, which might be desired in some situations.
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The Melody stretch type is well suited if you are using the Loop function (see “Loop and Loop Length”), since it usually reduces clicks/pops at the loop point.
#Vocal
This is the Vocal stretch type used for audio in the Reason sequencer, i.e. a high-quality stretch algorithm suitable for monophonic vocal audio material.
With the Vocal stretch type selected, there are two additional controls present:
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Turn the Formant knob to change the formant of the sample/slices.
Turning this up will be like creating a smaller “body” for the sound, and turning it down will be like creating a larger body. If you are using a vocal sample, changing the Formant would be like changing the character from “adult” to “child” like.
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Click the Fixed Pitch button to “auto-tune” the sample/slices to the currently played (note) pitch.
This is really cool for creating processed vocals that you could pitch from the keyboard.
#Granular
This is a “vintage” type of digital pitch shift/stretch method, where grains of the sample are being looped and crossfaded.
The Granular stretch type utilizes playback of a series of snippets of audio data - grains - “extracted” from the sample. The grains could be of a selectable length and overlap. The grains could then be played back in a number different ways - with or without crossfades between the grains.
The picture below shows the basic principle of the Granular Stretch type:
An example of a signal generated from 5 grains of a sample.
Here is what happens in the example above:
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The original sample at the top is used as base for the granular stretch.
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5 grains (of the same lengths and the same distances between them) are “extracted” from the original sample.
The distance between the grains is determined by the current sample playback speed. The grains could contain common audio data in some parts (like in the beginnings and ends in the example above).
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The 5 grains are then placed after one another, partly overlapping each other.
The distance between the grains is determined by the playback rate.
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When the grains are played back, big parts of the grains are played back together (since they are overlapping).
In the example above, there are also crossfades between the grains to make the overlaps smoother.
With the Granular stretch type selected, there are four additional controls present:
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Control the grain lengths with the Length knob.
This sets the lengths of the grains. At 0% you get the shortest grains and the sound could be a little gritty at this setting. At 100% you get the longest grains.
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Control how much the grains should overlap each other with the Overlap knob.
This sets how much the grains should overlap each other and also the crossfade amount. At 0% you get no overlap and almost no crossfade at all. At 100% you get the longest overlaps and also smooth crossfades between the grains.
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Set the playback position deviation with the Jitter knob.
The Jitter function modulates the sample playback position minutely and randomly. The Jitter function can be great for generating “chorus”-like effects and to make a sound more “alive”, depending on the other settings in the sound. At 0%, the timing and playback position is completely accurate and at 100% it is completely random.
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Set how much you want the grains to be panned in the stereo panorama with the Spread knob.
0% means the signal will be unaffected and 100% means every other grain will be panned hard left and hard right. Great for nice and wide stereo effects!
#Slices
This section is mainly useful when you are working in Slice Mode (see “Slice Mode”).
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Even though slices are the core of Slice mode, they are available in the other modes too. They can be used for snapping the Start position (see “Setting the sample start and end”) - either when you drag it manually or when you modulate or automate it.
#Sensitivity
Slices are added automatically at transients according to the Sensitivity knob setting.
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Turn the Sensitivity knob to increase or decrease the number of automatically detected slices.
Automatically generated slice markers are indicated in yellow.
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In Slice Mode the number of available keys changes according to the number of slices in the loop. For example, if there are 10 slices in the loop, the first 10 notes (counted upwards from C1) are used. If the loop contains 15 slices, the first 15 notes are used, and so on:
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Note that the maximum number of slices that can be detected and used is 92 (from C1 to G8). If you are using a very long sample and a high Sensitivity setting, the detected slices might not cover the entire sample - only the first part. If you want to access slices further into the sample you might therefore have to move the Sample Start marker (or reduce the Sensitivity setting).
#Moving, adding and removing Slice markers
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Drag the Slice markers sideways to move them:
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Add slices manually by double clicking in the Slice Marker lane directly above the waveform:
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Any manually moved/added slice markers are automatically indicated in a different color, which also means they are no longer affected by the Sensitivity knob.
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You can also click on a slice marker handle (without moving it) to deactivate it from the Sensitivity knob.
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Delete slice markers by double clicking the slice marker handles in the Slice Marker lane.
#Reset
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Click the Reset button to restore the slices to the ones auto-generated by transient detection/Sensitivity.
Any manually added slice markers will be removed.
#Play Thru
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Click the Play Thru LED to force the playback to continue beyond the following slice markers, for as long as the notes sustain.
When Off, the playback will automatically stop at the next slice marker, even if you have sustaining notes.
#Pitch
#Semi
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Set the pitch in semitone steps.
Range: +/-24 semitones (+/-2 octaves).
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Note that if you are using the Tape Stretch type (see “Tape”), the pitch settings also affect the playback speed.
#Tune
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Changes the pitch in steps of 1 cent.
Range: +/- 50 cents (down or up half a semitone).
#LFO
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Sets how much the pitch should be affected by the LFO (see “The LFO section”).
Range: +/- 100%.
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By using the LFO Scale function (see “LFO Scale”), you can gradually introduce the LFO modulation amount by using the Mod Wheel.
#Pitch Mod
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Sets how much the pitch should be modulated by the source assigned in the drop-down selector to the right.
Range: +/- 100%.
#The Filter section
The Filter section features eight different filter types.
#Filter Type selector
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Click the Filter type drop-down selector to choose any of the following filter types:
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LP 24
This is a standard 24dB/octave lowpass filter. Set the cutoff frequency with the Freq knob and the
resonance amount with the Reso knob.
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HP 24
This is a standard 24dB/octave highpass filter. Set the cutoff frequency with the Freq knob and the
resonance amount with the Reso knob.
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LP 12
This is a standard 12dB/octave lowpass filter. Set the cutoff frequency with the Freq knob and the
resonance amount with the Reso knob.
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BP 12
This is a standard 12dB/octave bandpass filter. Set the center frequency with the Freq knob and the
resonance amount with the Reso knob. Note that raising the resonance also makes the passband narrower.
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HP 12
This is a standard 12dB/octave highpass filter. Set the cutoff frequency with the Freq knob and the
resonance amount with the Reso knob.
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Notch
A notch filter (or band reject filter) could be described as the opposite of a bandpass filter. It cuts off frequencies in a narrow midrange band, letting the frequencies below and above through. Set the center frequency with the Freq knob and the notch width with the Reso knob. The higher the Resonance, the narrower the notch.
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Comb -
This is a comb filter with a positive feedback loop - but without feed forward - ideal for flanger and phaser types of effects. Set the cutoff frequency with the Freq knob and the resonance amount with the Reso knob. The difference between “Comb +” (see below) and “Comb –” is in the position of the peaks in the spectrum. The main audible difference is that the “Comb –” version causes a bass cut.
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Comb +
This is a multi notch filter, great for phaser types of effects. Set the cutoff frequency with the Freq knob and the attenuation amount - and consequently the bandwidth - of the notches with the Reso knob. The difference between “Comb +” and “Comb –” (see above) is in the position of the peaks in the spectrum. The main audible difference is that the “Comb +” version lets through more bass frequencies.
#Freq
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Set the cutoff frequency (for the HP and LP filter types) or the center frequency (for the BP and Notch filter type).
Range: 37.0 Hz to 16.00 kHz.
#Reso
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Set the resonance amount.
#Drive
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Set the amount of overdrive distortion in the filter.
#Kbd
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Set how much you want the filter cutoff/center frequency to track the keyboard.
At 0%, the filter frequency is static regardless where on the keyboard you play. At 100% the filter tracks the keyboard 1:1, i.e. one semitone per note.
#Vel
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If you want the Filter Envelope amount to be controlled from keyboard velocity, turn up the Vel knob.
#Env
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Set the cutoff/center frequency modulation amount from the Filter Envelope (see “The Filter Envelope and Amp Envelope sections”).
Range: +/- 100%.
#Freq Mod
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Select a modulation source, for modulating the filter cutoff/center frequency, from the drop-down selector.
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Set the desired modulation amount with the Mod knob.
Range: +/- 100%.
#The Filter Envelope and Amp Envelope sections
The Filter Envelope and Amp Envelope feature standard ADSR envelopes that control the modulation amounts of the respective destinations (the Filter Freq and the Amp Gain). The picture below shows the various stages of the ADSR envelope:
The ADSR envelope stages.
#A(ttack)
When you play a note on your keyboard, the envelope is triggered. This means it starts rising from zero to the maximum frequency value (Filter Envelope) or Gain level (Amp Envelope). How long this should take, depends on the Attack setting. If the Attack is set to “0”, the maximum Freq/Gain value is reached instantly. If the Attack value is raised, it will take longer time before the maximum Freq/Gain value is reached.
#D(ecay)
After the maximum Freq/Gain value has been reached, the level starts to drop. How long this should take is governed by the Decay parameter.
If you want to emulate the volume envelope of a note played on a piano for example, the Attack should be set to “0”, the Decay parameter should be set to a medium value and the Sustain level should be set to “0”, so that the volume gradually decreases down to silence, even if you keep holding the key down. Should you want the decay to drop to some other value than zero, you raise the Sustain parameter.
#S(ustain)
The Sustain parameter determines the level the envelope should rest at, after the Decay stage. If you set Sustain to full level, the Decay setting is of no importance since the frequency/volume of the sound is never lowered.
If you want to emulate the volume envelope of an organ, you theoretically only really need to use the Sustain parameter set to full level, as a basic organ volume envelope instantly goes to the maximum level (Attack “0”) and stays there (Decay “0”), until the key is released and the sound instantly stops (Release “0”).
But often a combination of Decay and Sustain is used to generate envelopes that rise up to the maximum Freq/Gain value, then gradually decreases to finally land to rest on a level somewhere in-between zero and the maximum Frequency/Gain value. Note that Sustain represents a level, whereas the other envelope parameters represent times.
#R(elease)
The Release parameter works just like the Decay parameter, except it determines the time it takes for the Freq/Gain to drop back to zero (or to the set Freq value) after you release the key.
#The LFO section
An LFO (Low Frequency Oscillator) is used for generating cyclic modulation. A typical example is to have an LFO modulate the pitch of a signal to produce vibrato, but there are countless other applications for LFOs.
The LFO section features one general purpose LFO, which can be assigned to control selectable parameter(s) in other sections on the front panel.
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By using the LFO Scale function (see “LFO Scale”), you can gradually introduce the LFO modulation amount by using the Mod Wheel.
#Wave
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Select an LFO waveform by clicking the spin controls to the right of the waveform display, or by click-holding in the display and dragging up or down.
Besides the standard waveforms (sine, triangle, pulse, etc.) there are random, slope and stepped waveforms. The shape of the waveforms are shown in the display.
#Rate
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Set the LFO frequency with the Rate knob.
#Key Sync
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Click the Key Sync button to restart the LFO at every new Note On.
#Beat Sync
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Click the Beat Sync button to sync the LFO to the main sequencer Tempo.
The Rate parameter now controls the time divisions.
#Delay
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Turn the Delay knob to introduce a delay before the LFO modulation kicks in after a note is played.
Turn clockwise for longer delay times.
#The Amp section
#Gain
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Set the desired maximum level for the Amplifier with the Gain knob.
This is the maximum level the envelope will reach after the Attack stage is completed (see “A(ttack)”.).
#Vel
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If you want the Gain level to be controlled from keyboard velocity, turn up the Vel knob.
#Gain Mod
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Assign a modulation source in the drop-down selector to the right. Then, control the modulation amount with the Mod knob.
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If you want to create a tremolo effect, select the LFO as Source in the drop-down selector.
#Pan
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Set the panning of the output signal from the Amplifier in the stereo panorama.
#Pan Mod
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Assign a modulation source in the drop-down selector to the right. Then, control the modulation amount with the Mod knob.
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Since Pan works individually per voice, you can assign e.g. Keyboard Velocity, an Envelope or “Random” as source to create cool panning effects.
#The Compressor
This is a Compressor, which can be used for compressing the signal and evening out the signal levels.
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Turn the Squeeze knob to set the compression amount.
The red LED above the knob indicates the signal compression.
#The Effect section
The Effect section features seven types of distortion/modulation effects, to spice up your sound.
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Select the desired Effect algorithm from the drop-down selector.
“Noise” adds noise to the signal (when a signal is present).
“Reso Noise” adds resonant noise to the signal (when a signal is present).
“Ring Mod” is a ring modulator effect.
“Bitrate” gives the effect of sample rate reduction.
“Lowres” combines sample rate reduction with bit depth reduction.
“Sine Fold” is a sinewave shaping distortion.
“Scream” produces a less bright type of distortion.
#Effect Mod
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Set the character of the selected effect algorithm.
#Mix
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Set the mix between the dry signal and the effect signal.
#The EQ section
This is a Lo Cut and Hi Cut filter, which lets you cut out bass (lo cut) and treble (hi cut) frequencies from the sound.
#Lo Cut
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Turn up the Lo Cut knob to cut out bass frequencies from the signal.
Range: 20.0 Hz to 4 kHz.
#Hi Cut
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Turn down the Hi Cut knob to cut out treble frequencies from the signal.
Range: 200 Hz to 20 kHz.
#The Send section
The Send knobs can be used for tapping the output signal of the Slot to the corresponding FX Send Out jacks on the rear panel (see “FX Send Out”). You could then route the signals to external effect devices and then further to a separate mixer/audio channel.
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Control the Send output levels with the corresponding Send knobs.
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Remember that CV connections are NOT stored in the Mimic patches! If you want to store CV connections
between devices, put them in a Combinator device and save the Combi patch.
#Sequencer Control inputs
The Sequencer Control CV and Gate inputs allow you to play Mimic from another CV/Gate device (typically a Matrix or an RPG-8). The signal to the CV input controls the note pitch, while the signal to the Gate input delivers note on/off along with velocity. There are also inputs for modulating the Pitch Bend and Mod Wheel parameters.
#CV In 1-4
These four assignable control voltage (CV) inputs can be used for modulating parameters on the Mimic front panel, by selecting “CV In” in the Mod drop-down selector for the desired parameter.
#Slot Out 1-8
These outputs are breakout jacks for each individual Slot. Connect these to have the audio from the desired Slot(s) routed to its own stereo output pair.
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Connecting any of the Slot Outs will automatically remove the corresponding Slot from the Master Audio Outs.
#FX Send Out
Here you can route the audio from all eight Slots to external effect devices for further processing. Since there are no FX Return jacks on Mimic, route the processed signal to a separate mixer/audio channel. You can control the Send level of each Slot with the respective Send knobs (see “The Send section”).
#Audio Output
These are the main audio outputs. When you create a new Mimic device, these outputs are auto-routed to the first available Mix Channel in the main mixer. If there is no Mix Channel available, a new one will be automatically created.
#Optimizing performance/DSP Load
Under some circumstances Mimic could be quite DSP demanding. If you experience any excessive DSP Load or playback problems, please check the following:
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Try another Stretch Type (see “Stretch”).
Especially the “Advanced” Stretch Type can be quite DSP consuming.
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If you are playing high-pitched notes using a low-pitched sample, the stretch function has to calculate a lot. To reduce the workload, try loading a higher pitched sample (which has a higher Root Key) and use that instead.
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Try to avoid having a lot of notes decaying at the same time. Try shortening the Release time of the Amp Envelope (see “The Filter Envelope and Amp Envelope sections”) and/or deactivating Play Thru in Slice Mode (see “Play Thru”).
#Creating a “velocity layered” instrument
A neat way to simulate a velocity layered instrument is to sample the same note repeatedly, of let’s say a bass or piano, and then modulate which of the recorded notes should play back. This will give you a more “live” and organic sound when you play. In this example we have sampled the same note of a bass guitar eight times in a single recording, played with a little different nuances between the eight picks:
1.
Make sure Pitch Mode is selected.
2.
Click the “Snap to Slices” LED in the Start Position section.
Do this to ensure that the playback will start from a slice marker (and not from in between slice markers).
3.
Select “Velocity” in the Start Position Mod drop-down list and turn up the Start Position Mod amount.
We are now controlling which “slice” should play back from Keyboard Velocity. You can of course choose another modulation source (e.g. Mod Wheel) if you want to control the start position using the Mod Wheel instead.
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Make sure you set the Amp Envelope “Release” time so that the consecutive “slice” doesn’t play back.
#Extending the sample “tail” (without looping)
Sometimes it could be useful to extend the tail of a sample (a drum sample, for example), to have it decay longer than the original sample length. An easy way of doing this is by modulating the “Speed” parameter as follows:
1.
Turn down the “Speed” knob close to minimum.
2.
Turn up the “Speed Mod” knob and select “Filt Env” as Speed Mod source.
3.
Select the “Advanced” stretch type in the Stretch section.
4.
Raise the Filter Envelope (D)ecay slider to the desired value.
When you play and hold a key down, the Speed will quickly raise and then slow down in the sample tail, making the playback time extend.
#Automating the sample Start and End markers
Besides the regular modulation capabilities in Mimic, you could also automate and modulate the sample Start and End markers from the main sequencer, to have them reposition in real-time during sequencer playback. This could be useful if you have a longer recording/sample that you want to alter the playback position in:
1.
Record some notes on the Mimic sequencer track in the sequencer and then hit Stop twice.
2.
Hit Record again in the sequencer and drag the Sample Start and Sample End markers during recording:
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If you like, drag and move the Start/End marker up into the Slice Marker area above the waveform, to have the Start/End marker snap to the closest slices. This works in all modes, not just in Slice Mode.
3.
Hit Stop in the sequencer twice when you are done recording.
If you moved both the Sample Start marker and the Sample End marker you will now have two Parameter Automation lanes with clips on them on the Mimic sequencer track:
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The clips on the Start Pos and End Pos lanes represent the movements of the Sample Start and Sample End markers respectively.