RONE Stutter User Manual

Shows the source (grey) or the result (yellow). Clicking sets the start of the slice that will be repeated; the selection is shown as a bright line. Detected transients are marked with triangles above the waveform. The time ruler under the waveform follows zoom.

Moves the selection to the previous / next detected transient. The status line tells you how many transients were found. If the detector finds nothing (pads, noise), click the waveform to select manually.

The bright part of the source that gets repeated. Dragging its right edge sets its length: it snaps to the grid (1/2 to 1/32), or sets the milliseconds on FREE.

Loads WAV, AIFF, FLAC, MP3 or OGG. Stereo and mono files are both fine; a mono file still comes out in stereo, so STEREO works on one-shots too.

The note value of one repeat. 1/6 and 1/12 are triplet values. The repeat length is calculated from the BPM: at 120 BPM a 1/16 repeat is 125 ms, at 128 BPM it is 117 ms.

The accelerating roll in one render. From the GRID value the repeats double in rate, stage by stage, until they reach RAMP TO at the end of the clip: GRID 1/8 with RAMP TO 1/32 renders 8ths, then 16ths, then 32nds - the fill every producer arranges by hand from three separate renders. Every stage holds a whole number of repeats, so each stage change lands on the grid. LIN gives every stage the same share of the clip; EXP halves the share for each finer stage, so the roll spends most of the clip on the slow repeats and snaps into the fast ones at the end.

Triplet grids double too (1/6 to 1/12 to 1/24), and a target below the GRID simply renders the GRID.

Takes the repeat length off the tempo grid. The SLICE chip turns yellow and becomes the control: drag it up or down, use the wheel, hold shift for fine steps. The scale is logarithmic, so the fast rolls and the slow ones get the same room.

Only the rate is free - the clip is still BARS long at the song tempo, so it still ends exactly on the next bar line. RAMP TO does not apply in FREE (it doubles grid values); TREMOLO takes its place.

Glides the repeat length continuously from SLICE to END across the clip. SLICE longer than END: wide pulses that tighten into a buzz. SLICE shorter than END: a buzz that opens up into slow pulses. CURVE sets the shape of the glide - LIN evenly, EXP holding back and rushing at the end.

Unlike RAMP TO, which jumps between grid values in stages, TREMOLO has no steps: every repeat is a little shorter (or longer) than the one before.

The length of one repeat in milliseconds. It changes when you change GRID or BPM. If the selected slice of audio is shorter than this, the repeat simply contains silence after the hit.

The length of the rendered clip. Repeats are placed until the clip is full; if the clip length is not an exact multiple of the grid, the last repeat is cut to fit.

Below half a bar, the minus button steps to 1/4 (one beat) and 1/8 (half a beat) for the short fills - a quick stab roll before a hit.

When the plugin runs inside a DAW that reports its tempo, the box is locked and shows the host tempo (chip reads DAW). Otherwise type a tempo; the chip reads MANUAL. The grid, the SLICE readout and the clip length all follow this value.

A fade at the start of every repeat. Small values (5-15 %) remove clicks when the slice does not start at a zero crossing; large values turn hard hits into soft pulses.

A fade at the end of every repeat. Use it to make each repeat decay before the next one, which gives the classic 'gated' roll.

Ping-pong: even repeats are attenuated in the right channel and odd repeats in the left, by the amount you set. 100 % alternates fully left / right; 30 % gives gentle movement that still sums to mono without holes.

Moves the knob by itself across the clip. The knob is where the clip starts; up walks it to 100 % and down to 0 %, repeat by repeat, following CURVE (LIN: a straight line, EXP: slow first, fast at the end). The last repeat always gets the full value.

Two knobs have it because they are the two that tell a story over a fill. STEREO 100 % with AUTO down opens in full left / right ping-pong and closes in the centre, right into the drop. FADE OUT 0 % with AUTO up starts with repeats that ring into each other and ends with tight, gated hits.

A thin ring outside the knob's arc shows the stretch it will travel, and while the RESULT plays a dot rides that ring at the value the repeat under the playhead got - the same idea as an LFO display in a synth. On the RESULT waveform the stereo colouring (yellow / white repeats) fades along with it.

By default AUTO walks all the way to 100 % or 0 %. Drag the small handle at the end of the outer ring to set where it stops instead.

Every repeat is re-pitched by this amount - the content moves, the grid does not. The slice is read faster or slower from the transient, so a repeat pitched up contains more of the source and one pitched down contains less.

Added to PITCH across the clip, from nothing at the start to the full amount on the last repeat (following the CURVE). A rising roll that also rises in pitch is the build; a falling one is the drop.

At 1/64 and beyond, a roll repeats faster than 20 times a second and the ear hears it as a note - the note is the repeat rate, whatever the slice contains. With a KEY chosen, every stage fast enough to be a tone is nudged to the nearest note of the scale, so the buzz at the end of the fill is in key with the bass instead of a random pitch. Slower stages stay exactly on the grid.

Two filters baked into the rendered fill, saved with the project and the presets.

Each filter can sweep across the fill: the knob is where it starts, up and down sweep it over the bars. Drag the handle at the end of the ring to set where the sweep stops (the readout shows the range, for example 100 > 2.0k); double-click it for the full sweep. FILTER CURVE shapes the sweep: LIN evenly, EXP slow at first with most of the move at the end.

The preview level in the channel. At 100 % the result replaces the channel (LOCK); below that the channel stays at full level and the result is added on top - a send, not a crossfade. It never touches the export.

The shape of FADE IN and FADE OUT on every repeat: 1 is linear, 2 a gentle curve, 4 sharp.

A fade over the whole clip on top of the per-repeat fades. GLOBAL IN at 90 % is a two-bar swell from silence.

They are usually set on the waveform rather than here. In the top band of the RESULT view each fade is a full-height column you can grab at any height - hover and it lights up - and dragging it sideways sets the length. The dot on the curve below is the shape: pull it up or down (the cursor turns vertical) to go from a gentle curve to a sharp one. Clicking the bare left or right end of the band starts a fade that does not exist yet.

Plays whatever the waveform is showing, through the plugin's channel: the RESULT clip, or the source from the slice start when the view is on ORIGINAL. The label follows the view, the playback position is drawn on the waveform, and pressing it again stops. Switching the view while it plays stops playback rather than carrying on under the wrong name.

Forces a render with the current settings. You rarely need it: a file that lands is rendered immediately, and every later change - GRID, BARS, the fades, STEREO, a new transient - renders again on its own. The button is there for the times you want to re-roll deliberately, and it is hidden on the minimal page.

The preview keeps playing in a loop, so you can flip through presets and hear each one at once. Every change starts the loop again from the top, or on the next bar with ON BAR while the song plays. Press it again to unlock.

Off until you press it. When lit and the host is playing, ORIGINAL and RESULT do not start at the click but on the next bar line of the song. A fill previewed on the bar is heard exactly where it will sit in the arrangement. While it waits the play button pulses and reads NEXT BAR; press it again to call the preview off.

With the transport stopped - and in the standalone app - there is no bar to wait for, and playback starts at the click.

When the song stops, the preview stops with it, and a preview that was still waiting for the bar line is called off.

Saves the rendered clip into Documents\RONE Plugins\Exports\RONE Stutter\ as <source>_stutter_<grid>_<bars>_<date>_<time>.wav, at the session's sample rate. The status line shows the file name. Nothing is ever deleted from that folder by the plugin.

Press the mouse anywhere on the lower part of the result and pull: the plugin writes the clip and hands it to your DAW as an audio drop. A small DRAG TO EXPORT badge marks the area. The file is saved to Documents\RONE Plugins\Exports\RONE Stutter\ first - a permanent folder that is never cleaned up - so a project that references it always finds it again, even if your DAW does not copy dropped files into the project folder. It works into Explorer / Finder too.

The top of the waveform belongs to the fades, so a press there moves a fade instead of starting a drag. Nothing is ambiguous: the two areas do not overlap.

Play the song and the fills come by themselves, on its bars. EVERY is how often. Each fill is BARS long. On END it comes at the end of the phrase and lands on the next downbeat; on START it opens the phrase. With BARS as long as EVERY, or longer, it never stops. Nothing happens until the song plays: the deck says PLAY THE SONG, then counts down to the next fill. The pads play on top, and a pad you are holding wins over a fill that is due.

The channel stutters while you hold, with the sound on the panel. Let go and the channel is back.

One press plays the whole BARS, however short the press was.

While the song plays, a press waits for the next 1/16, beat or bar, so it always lands in time; the pad blinks while it waits. A press you let go before that line still plays, for one step of the catch. OFF starts at once, and with the song stopped there is nothing to wait for, so it starts at once too.