Cette page est une traduction de la documentation officielle disponible ici : http://essej.net/sooperlooper/doc_commands.html


Le fonctionnement de sooperlooper est basé sur les pédales Gibson / Oberheim Echoplex Digital Pro (LoopIII et LoopIV), donc lire leurs manuels d'utilisation (english) peut s'avérer utile.

Sooperlooper permet d'avoir autant de boucles en lecture simultanée que désiré (limité seulement par la RAM), et chaque boucle peut posséder n'importe quel nombre de canaux. Chaque canal aura un port audio virtuel d'entrée et un port de sortie accessibles sous Jack.

options des commandes

SooperLooper supporte les "appuis longs" (sur les boutons de l'interface ou d'un contrôleur MIDI). Lorsqu'une commande est actionnée pendant plus d'une seconde, elle se comporte comme un interrupteur momentané, tel que lorsque la commande est relachée elle finie l'opération démarrée (Com.me si vous aviez rapidement appuyé sur le boutons deux fois de suite). Dans l'interface, les clics avec le bouton du milieu de la souris donnent le même résultat.
MIDI bindings have a SUS option, that if set will treat that binding as an immediate momentary operation (SUS).

commandes

RECORD

Enregistrement. Si le seuil audio (thresh) est fixé au minimum (-inf), l'enregistrement démarre immédiatement et s'arrête lors d'un nouvel appui sur ce bouton.

Si le seuil est fixé plus haut, l'enregistrement ne démarre pas avant le franchissement de celui-ci par le flux audio entrant. Une fois la boucle enregistrée, la valeur du seuil est ignorée. Voir les astuces dans les manuels d'utilisation de l'Echoplex, cela fonctionne mieux si vous démarrez et arrêtez l'enregistrement au moment exacte ou vous batez votre pulsation, pas avant. Croyez-les.

Terminaisons spéciales :
  ★ Si vous arrêtez un enregistrement en cours avec une autre fonction (OVERDUB, MULTIPLY, REPLACE, SUBSTITUTE, INSERT, ONCE) cela finira la boucle immédiatement (seuil ignoré) et la nouvelle fonction commencera.
  ★ Arrêter l'enregistrement avec la fonction REVERSE fini la boucle et commence à la lire à l'envers, une seule fois. Revenu au début, le son se coupe automatiquement (MUTE).

OVERDUB

Ré-enregistrement. Cette fonction continue à jouer la boucle en cours, mais enregistre par dessus tout ce que vous ajouterez jusqu'à sa désactivation. Très utile... C'est l'outil principal. Le potentiomètre de retour (Feedb(ack)) contrôle le niveau de la boucle d'origine à chaque passage. En réalité, lorsque le retour est fixé à 100%, un peu moins sera utilisé pour éviter les accrocs audio à la sortie.

MULTIPLY

Multiplication. Similaire à la fonction OVERDUB, à part que la boucle originale se répète (sans les ajouts), s'ajoutant à elle même et donc "multipliant" la longueur totale de la boucle jusqu'à ce que vous l'arrêtez. Elle peut donc transformer une boucle d'une mesure en boucle de 2, 3 mesures ou plus.



QuantizeMode and RoundMode affect how the overdubbing starts and stops. QuantizeMode affects when the operation begins, and RoundMode affects if the new audio continues to be added throughthe end of the current cycle after hitting the final record.

Keep in mind that the original loop length is a "cycle" and the loop length will be a multiple of that. You can actually make an already multiplied loop have fewer cycles when using Multiply on loops that have already been multiplied.

Terminaisons spéciales :
  ★ If you end a MULTIPLY with a RECORD press it ends the loop immediately and resets the cycle length to the whole loop.
  ★ The MultiIncrease function is implemented which allows you to increment the cycle count ahead of time, without needing to wait until the exact time to finish the multiply. Basically, press Multiply as if you were finishing it, then before the current cycle plays out, press Multiply again repeatedly to add cycles. The multiply will resume and automatically go into playback after the specified number of cycles.

INSERT

It inserts new input in place, but always one "cycle" length... QuantizeMode and RoundMode have effects similar to Multiply.

Terminaisons spéciales :
  ★ Ending with a RECORD press it ends the operation immediately and resets the cycle length to the whole loop.
REPLACE
Replaces the audio in the loop for the duration of the command. The existing loop audio is not heard during the operation.

When Quantize mode is set, this operation will be quantized on start and finish with the current sync and quantize parameters.

SUBSTITUTE

Is like Replace except you still hear the current underlying loop audio as it records new audio into the loop. On the next time around, only the newly recorded audio will be heard. This helps maintain the groove when recording a replacement section, because you can play with what was there.

When Quantize mode is set, this operation will be quantized on start and finish.

REVERSE

Reverses playback direction. Can be used in play mode, and even during an OVERDUB, which makes for some pretty interesting stuff. Can also be used in DELAY mode. If Quantize is on, the reversal doesn't happen until the next sync boundary, thus keeping the loop in time.

UNDO

Restores the playing loop to the state before the last operation. It maintains the current time position if the current loop was based on the previous loop (eg, not newly recorded). You can go all the way back to the first one still intact within the loop memory. As more operations are done, more of the available loop memory is used, and it will eventually start reclaiming the oldest versions.

Note that to undo all existing state, do a long-press of Undo.

Pressing Undo when an operation is waiting for sync or quantization will cancel the pending operation.

REDO

Redoes the loop if it can (if you haven't done a new operation since your last undo). Taken together UNDO and REDO allow you to do some neat things: record a verse part, then hit record to do a chorus part. To get back to the verse, press UNDO... to get to the chorus press REDO.

MUTE

Press to mute loop output. Dry passthough audio will be unaffected. To continue playing the loop in time press MUTE again. To continue playing the loop from the top press TRIG. To play back the loop once and return to mute, press ONCE.

TRIGGER

this immediately restarts the loop playing back from the beginning.

ONCE

this immediately restarts the loop playing back from the beginning, and goes into MUTE mode at the end of the loop.

PAUSE

Press to pause loop playback. Dry passthough audio will be unaffected. To continue playing the loop from the paused time press PAUSE again. To continue playing the loop from the top press TRIG. To play back the loop once and return to mute, press ONCE.

SOLO

Pressing SOLO will mute all other looper instances. Pressing it again will revert to the previous state before solo was pressed (eg, loops that were muted before the first press will stay muted). Pressing solo for a different loop will cause that loop to be the new soloed loop, only one loop may be soloed currently.

LOAD/SAVE

These commands allow you to load a loop from an audio file. The file becomes a new loop, so it must be shorter than the available loop time, or the operation will fail. Many audio file formats are supported, but the sample rate should match that of the current loop, as no resampling is currently done on load.

Save will save the current loop to an 32bit float WAV file. The loop playback is not interrupted when saving.

DELAY MODE

Pressing the Delay control triggers Delay Mode. The time between the most recent two presses is the new delay time. While in DELAY mode, you can toggle Hold Mode (by pressing Replace), or Reverse at any time for a cool effect. To get out of delay mode press any other function or UNDO. You will probably want to adjust Feedback down from 1 before you enter delay mode or you'll build up a nice cacophony fast.
Rate Adjustment
The rate can be adjusted anytime (even during Recording) and will affect both the underlying loop and any new incoming audio recorded onto the loop, reminiscent of tape delay systems. Altering the Rate during recording/overdubbing, etc can result in interesting recorded audio. The GUI has buttons for easy access to 1/2 speed, double speed, and normal (1x) speed. MIDI bindings can be created to act like these buttons by specifying the range min and max to equal the target rate.

SCRATCH MODE

By default the Scratch Rate Active is toggled off which means it ignores the Scratch Rate parameter. Changes in the Scratch Position parameter over time define the rate of playback (position unit is ratio of current loop length). The implementation is still pretty rough sounding.

I've personally used a theremin (the PAIA Theremax) with CV output through my MIDI pedal, although the scratching code needs some work.
Control Reference
main in mon
The main in mon control sets the level of any incoming audio for passthrough monitoring to the common outputs.
main out
The main wet control sets master level of all loop audio being sent out the main output ports. It does not affect the passthrough level from the main inputs, use the main in mon control for that.
input gain
The input gain control sets a gain attenuation of the incoming main input audio. This affect the input into the loops only, not the main passthrough monitoring.
xfade
The xfade control sets the length in samples that is used to crossfade the audio on loop operations. Useful to prevent unwanted clicks caused by waveform discontinuities. However, if you want them set this value to 0. The control in the GUI affects all loops.
pan
The pan controls sets the panning for a given channel in a loop to the common outputs. Note that the panning does not affect the discrete output ports for each loop, it only pans the signal to the stereo common outputs. A mono loop will have a single panner, and stereo and multichannel loops will have one stereo panner for each channel to allow full control of signal width and panning.
main in
The main in control toggles the use of the main inputs for audio input to the loop. This option only shows up with the loop also has discrete inputs.
Please see the documentation on Sync for a description of other important controls.

© 2005 Jesse Chappell