RONE Stucker User Manual

The amount of roll-up. At 0 % the effect is off and the input passes through. The moment the knob leaves zero a grid slice is caught from that point and looped (the first pass is the live sound). As the value increases the loop length shrinks exponentially over the number of octaves set by RANGE; at the top the loop is only a few dozen samples long and reads as a rising pitch.

The knob is heavily smoothed, so fast automation and MIDI controllers never click.

SYNC aligns the captured slice to the host's beat grid: the loop starts on the grid line of the LENGTH division the knob comes up in, so a slightly late grab still loops a full beat in time, and a knob (or automation) that arrives up to 50 ms before a line waits for the line. Automation drawn up on a beat therefore catches that beat every time, whatever the host's buffer size. FREE catches from the moment the plugin sees the knob move, which is what you want on material without a fixed tempo, or in the standalone app; with automation it can land up to one audio buffer early, so use SYNC for automation drawn on the grid.

Hard bypass. Use it to compare with and without the effect while STUCK is engaged.

The knob rides itself, on the bar. Pick a length and press GO anywhere in the bar the rise starts in: the ride is measured from that bar's downbeat, so the STUCK climbs from wherever the knob is to 100 % over that many bars and lands exactly N bars after the bar you marked - where it snaps straight back to the knob. The press is the mark; nothing waits for a next bar. With the knob at OFF that is the release, exactly on the drop, with whatever ON THE DROP says. The big knob follows on screen.

It is the snare roll-up automation of every build, without drawing it, and it cannot be late. The bar comes from the host's song position; in the standalone app, or while the transport is stopped, the clock free-runs at the tempo. Setting RIDE to OFF cancels a ride in progress.

1/4 and 1/2 are rides shorter than a bar: they start on the grid line of their own length (a 1/4-bar ride on the beat) and land one quarter or half a bar later. Retrigger: a MIDI C2 that arrives while a ride is still climbing restarts it from where the note lands (on the 1/16 grid), for the full length again - C2 on every beat with RIDE at 1/4 gives a chain of short roll-ups, a C2 half a bar into a 2-bar ride starts a fresh 2-bar ride there.

Stop: a MIDI C#2 (note 49, the key next to C2) ends a ride at once, before it lands: STUCK snaps back to the knob exactly as at a normal landing, so ON THE DROP plays. C2 starts, C#2 stops - side by side on a pad.

Two behaviours in one knob, in the bottom right corner. At 100 % the readout says LOCK and the knob turns white: the frozen loop replaces the source, exactly as the plugin has always sounded. The moment you leave 100 % the knob is purple again and the readout is a percentage: the source comes straight back to full level and the loop sits on top of it at the MIX level - a send, not a crossfade, so the original never gets quieter. At OFF the control does nothing at all - the effect only exists while STUCK is up.

The wet path keeps running underneath, so you can take MIX to zero in the middle of a roll and bring it back without a click or a jump in the loop.

How gently the loop length follows the knob and how long the engage / release crossfades are. Low values are snappy and can sound grainy when the knob moves fast; high values glide between loop lengths and hide every seam.

How far the loop shrinks across the knob's travel. At 3 octaves the full turn only takes a one-beat loop down to 1/8 of its length - a rhythmic roll with no pitch rise. At 10 octaves it dives all the way to audio rate and the top of the knob screams.

A high-pass filter on the looped (wet) signal only. When the loop reaches audio rate a lot of low-end buzz appears; a LOW CUT around 120-200 Hz keeps the build clean under a kick that is still playing.

A scream at an arbitrary pitch fights the bass; on the root it is part of the music. Choose the song's root and the top of the knob lands exactly on it - in the octave nearest to where it would have landed anyway at this tempo and RANGE - and the LANDS chip on the main view shows the note. On the way up, once the loop is at audio rate, the pitch steps in semitones instead of sliding, each step glided by SMOOTH, so the roll-up becomes a run up to the root on the downbeat.

What happens at the release - when STUCK returns to OFF, or the ride lands. CUT is the classic: the loop stops and the source is back, click-free. TAIL lets the final loop ring on at its last pitch and fade over one beat on top of the returning source. REVERSE plays the captured slice backwards once, at its original length, fading out - the downlifter that the good transition guides ask for after the impact, without a second plugin.

The shape of the ride. LIN is the classic roll-up: the loop halves at even intervals, so the rate doubles like a snare roll (the shrink itself is already exponential). EXP holds back for the first half and does everything at the end; S is EXP with an extra push before it lands.

The size of the slice that is captured when STUCK engages, and the grid it locks to in SYNC mode. 1/4 grabs one beat - a kick or a snare hit; 1/1 grabs a whole bar and rolls the phrase; 1/8 starts from an already tight loop.

The current loop length while engaged. It falls as you turn the knob up. Below roughly 50 ms the repeats are faster than 20 per second and start to sound like a tone.

Twelve LEDs show the roll-up depth; when they are all lit you are at the audio-rate end of the range.