RONE Throw User Manual

The one knob. It drives three things at once, each on its own curve: the send into the delay, the feedback of the loop (from 0.30 at the bottom to 0.98 at the top - a tail of well over a minute), and the amount of reverb on the repeats. Low values give a clean rhythmic delay; the middle thickens it; the top third is atmosphere.

Since 1.8.0 the knob opens a throw and never closes one: the send follows it, but the feedback, the reverb and the wet level hold at the throw's peak when it comes back down, so the tail keeps ringing - fade it with MIX or cut it with KILL. Raising the knob again from low is a new throw with its own character; KILL, stopping the song and loading a preset start fresh too.

The send is normalised against the feedback, so turning the knob up adds length and density rather than volume. And the dry signal is never touched - at 100 % the source is exactly as loud as at 0 %, with the atmosphere added on top.

The arrows step through the presets; click the name to open the menu, grouped by use: INIT, THROWS, LEADS, DUAL, ATMOSPHERES, VOCALS, DRUMS and CREATIVE. Equinox - The Reference is the measured source material with SPACE at 0 - the delay exactly as the reference does it, with no reverb, for comparison.

LOCK THROW WHILE BROWSING (at the bottom of the menu) holds the big knob where you left it while you audition presets, so browsing never yanks the knob mid-performance.

Six one-tap sounds that are always at the top of the window. The slots start empty and dark. Hold a slot for about a second - the button fills, then flashes - to store the current settings into it, whatever they came from: a tweaked preset, something you dialled by hand, or a dual-time experiment you want back tomorrow. From then on that slot is lit white, and stays lit for as long as a macro is in it: a lit slot has something stored, a dark slot is empty. Tap a lit slot to recall it - it glows, and the preset bar shows what is in it.

The slots are yours, not the project's: they are saved per user and shared by every instance in every session, so "macro 6" is the same sound - and the same light - in every song. To overwrite a slot, hold it again; CLEAR ALL MACRO SLOTS in the preset menu empties all six.

Hard bypass for A/B comparison. The engine keeps running with the knob at zero, so the tail that is already in the loop rings out instead of being cut, and coming back is click-free.

Cuts the tail now. A 6 ms fade, then the delay lines, the loop filter and the reverb are emptied; the dry keeps playing through untouched and the next throw starts from silence. It is for changing direction mid-set: without it, a new throw lands on top of whatever the old one was still doing and the two pile up.

Shifts the whole delay up or down, in the footer. The HZ / NOTE chip beside the knob picks what it is.

HZ is a frequency shifter, not a pitch shifter: every partial of the repeats moves by the same number of Hz, so the harmonics no longer line up and the tail turns metallic and bell-like - an atmosphere rather than a second voice singing the line a few notes away. It acts on the finished delay, before SPACE, so the reverb smooths the shifted repeats instead of being smeared by them. The dry is never touched, and at 0 the plugin is exactly as it was.

NOTE is a musical shifter: the knob steps in whole semitones and every partial is multiplied, so the tail stays a note - a throw a fifth up is a harmony, an octave up is a shimmer. The readout shows the note the plugin hears in the throw and the note it will put out, A3 > E4, so you can raise the knob to exactly the interval you want; when there is no single clear note (a chord, noise, an empty tail) it shows the semitones alone. The tracker is monophonic - leads, vocals, basses and plucks read cleanly - and it also keeps the shifter's grains locked to the note, so a shifted tail stays a clean tone rather than a warble.

In the footer between PITCH and MIX: the whole effect louder - the repeats and the reverb together - on top of MIX. The big knob keeps the wet at a roughly constant level by design (the send is normalised against the feedback, so more feedback means a longer tail, not a louder one); when the atmosphere needs to sit in front rather than behind, this is the knob. The dry is never touched.

How much of the effect is added, in the bottom right corner. Throw is strictly additive, so this is a send level rather than a crossfade: the dry is never reduced. At 100 % you hear the plugin exactly as it was designed; at 0 % nothing is added at all.

The tap division, always locked to the host tempo. The dotted 8th is the sound this plugin exists for - it is what the reference material uses - so it is the default. With DUAL off there is one division and the repeats bounce left, right, left, right one division apart. With DUAL on the right side gets its own row.

Two independent delays instead of one ping-pong. Each side is fed from the input and recirculates into itself, so the two divisions never interact and you hear a true cross-rhythm. The default pairing - dotted 8th left, straight 8th right - is the classic 3:2. The GRID readout shows both, and the tap trail draws each side at its own rate.

Where the tail settles. The feedback loop is a band-pass; each pass through it removes a little above and below the band, so after a few dozen repeats the tail has collapsed into a fixed midrange cloud. TONE slides that band up and down by two octaves in each direction. The BAND readout shows its centre.

A trim on the feedback the knob is already setting - not an absolute. Push it up for sparser material that needs a longer tail, or all the way for a tail that barely decays; pull it down when the track is dense. TAIL in the readout shows the result.

How far apart the left and right repeats sit. 0 % folds the repeats to mono in the centre, 100 % is the measured ping-pong, and above that the two sides are pushed wider than they arrived.

The atmosphere steps aside while the source is playing and blooms back the moment it stops. This is the sidechain compressor on a return bus, built in and keyed from the dry input - a fast attack and a musical release. Raise it on vocals so every word stays clear; lower it on pads that should sit in their own wash.

The reverb on the repeats. It opens with the big knob (there is none at the bottom of the knob, a lot at the top) and SPACE sets how far that goes. At 0 the plugin is the measured delay exactly - discrete repeats, no wash. At 100 the top of the knob is almost pure atmosphere.

What DUCK listens to. SELF is the plugin's own input - the classic vocal throw. SIDECHAIN keys the duck from the plugin's sidechain bus instead: route the kick there in the DAW and the atmosphere breathes with the kick, even on an FX bus where the input is the send. The row says NO SIDECHAIN ROUTED until the host connects something.

The division in use (L and R separately with DUAL) and the resulting tap spacing in milliseconds at the current host tempo.

The centre of the band the tail collapses into. Follows TONE.

How long the atmosphere rings after the source stops, at the current knob position and FEEDBACK trim.

The repeats as they will play: left channel above the line, right below, spaced by the division and fading at the feedback rate. With DUAL on, each side steps at its own rate and you can see the cross-rhythm before you hear it.