-1-

Operation Manual by Ernst Nathorst-Böös.

Documentation Quality Control and Assistance: Ludvig Carlson, Anders Nordmark, Dave Ni-
cholson, Anja Kramer and Andrea Menke.
The information in this document is subject to change without notice and does not represent
a commitment on the part of Propellerhead Software. The software described by this
document is subject to a License Agreement and may not be copied to other media except as
specifically allowed in the License Agreement. No part of this publication may be copied,
reproduced or otherwise transmitted or recorded, without prior written permission by
Propellerhead Software.
All product and company names are ™ or ® trademarks of their respective owners. Apple,
the Apple logo, Mac, Macintosh and Power Macintosh are trademarks of Apple Computer
Inc.
ReBirth is a trademark of Propellerhead Software.
All other commercial symbols are protected trademarks and trade names of their respective
holders.
All specifications subject to change without notice.
ReBirth One software synthesizer is a new, original product that simulates the sound of the
discontinued Roland products TB-303 and TR-808. However, the product is in no way
connected with Roland Corporation.
© Propellerhead Software, 1999.
All rights reserved.

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6 Introduction 39 Clearing the Pattern
7 Thanks! 40 Working with various Pattern
8 About this Documentation Lengths
41 Sound Parameters
9 Making Audio Settings
42 Programming Synth Patterns
10 Introduction
10 Windows computers 43 Preparations
14 Macintosh computers 44 Soloing a Synth section
45 Programming and Playback
17 Overview and Basic Concepts 45 Notes or pauses to start with?
46 Basic procedures
18 Introduction 48 Using Pitch Mode
18 Song Mode vs. Pattern Mode 50 Using the keyboard for creating
19 Setting Values and editing Patterns
21 Using the Computer Keyboard 52 Working with Octave settings
21 Real Time Operation 52 Working with Accents
22 Pattern selection 53 Working with Slide
24 About Focus and the Focus Bar 55 Clearing the Pattern
25 The Mixers 55 Working with various Pattern
27 About Levels Lengths
29 Programming Rhythm Patterns 56 The Synth Sound settings
30 Preparations 57 Tune
31 Soloing the Rhythm section 57 Cutoff
32 Programming and Playback 57 Resonance
32 Selecting sounds 58 Env. Mod. (Envelope Modulation)
34 Adding and Removing Notes 58 Decay
35 Dragging to Add/Remove notes 58 Accent
36 Working with Shared Instruments
38 Working with Accents
38 About open and closed hi-hat

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59 Pattern Editing Functions 99 Using the Song Record function in
60 Cut, Copy and Paste (Pattern) a “live” situation
62 Pattern Functions
100 Using ReBirth One with Cubase
67 Mixing & Effects 101 Why use ReBirth One with
68 Introduction Cubase?
69 Setting Levels 111 Audio Sharing
70 Muting
71 Using Pan 114 Using ReBirth One with Other
72 Dist (Distortion) Equipment and Programs
74 Delay 115 Synchronization
126 Running multiple audio
78 Creating and Playing Songs applications on one computer
79 Introduction
79 About the Song/Pattern Modes 130 File Handling
80 Playing Songs 131 New Songs – Changing the Default
81 Preparations for creating your own Settings
Songs 132 Saving Songs
83 Building a String of Patterns 134 Opening Songs
87 Correcting mistakes and making 135 Copying and Moving Patterns
changes to the Pattern order between Songs
89 Recording Control (knob) changes 135 Moving ReBirth One Song files
91 Correcting mistakes and making between Macintosh and PC
changes to Control (knob) Computers
recordings 136 Exporting Songs and Patterns as
93 Recording while Looping Audio (AIFF/Wave) Files
94 About Recording Pattern changes
vs. Control Changes
95 Making modifications to Patterns
96 Moving, Removing and Repeating
measures in the Song
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137 Reference 201 Index
138 Transport Panel
142 Pattern section
144 Rhythm section
147 Synth section
152 Mixers
154 Dist (Distortion)
155 Delay
157 Master
158 Menus and Dialogs

172 About Audio on Computers

173 General Information
176 PC Specific Information
181 Macintosh Specific Information

183 Troubleshooting
184 Introduction
184 Where can I get Support?
184 What you need to do before
contacting Tech. Support
188 How to contact Tech Support

189 Glossary

195 Keyboard Shortcuts

196 Menus
197 Transport Controls
198 Pattern Selection
199 Synth Programming

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1ReBirth One
Introduction 1

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Thanks!
Thanks for choosing ReBirth One!
It is our sincere belief that this program will prove to be a valuable, exciting and cre-
ative tool in your music making. ReBirth One is based on the groundbreaking soft-
ware synthesizer ReBirth RB-338. Our primary goal during the development of
ReBirth has been to deliver what software synthesis for so long has promised: a real
alternative to expensive and Ð in this case Ð partly ÒextinctÓ hardware. We simply
love synthesizers, and this love has been a major motivation during the development
process.
Now we hand our creation over to you. We hope you will have as much fun using
it as we had designing it!
WeÕd also like to take this opportunity to thank everybody that helped out during
development, for the enormous support!
Please stay in touch, preferably via the web sites (www.propellerheads.se and
www.steinberg.net). We need your comments and ideas for the future!
Again, thanks!

Propellerhead Software/Steinberg Soft- & Hardware GmbH

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About this Documentation

Using Acrobat Documents

The following methods will help you Þnd the information you require:
• Use the Table of Contents provided by the Adobe Acrobat Reader pro-
gram.
• Use the Adobe Acrobat Reader Find function.
• Click on a cross-reference (green text) to jump to the respective topic.
It is possible to print out this document or parts of it.
Additional Information on how to use the Adobe Acrobat Reader program can be
found in its on-line Help.

How the documentation is organised

The documentation for ReBirth One is divided into two parts:
• The printed documentation.
This describes how to install the program and gets you started using it.

• This on-line documentation

This contains detailed instructions, reference material, troubleshooting, glos-
sary and index.

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2
Making Audio Settings 2

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Introduction
It is extremely important that you make the correct audio settings on your compu-
ter. Please follow the instructions for each computer platform, below.

Windows computers
The following text is a duplication of the help Þle that appears automatically when
you Þrst launch ReBirth One for Windows. If you have just followed the on-screen
instructions, you naturally donÕt need to do this all again!

Selecting an Audio Card Driver

● If you are unsure about the terminology and concepts used in the following
text, look up the chapter ”Audio on Computers” in this manual.

First, you must determine if you have DirectX installed on your system, or not:
1. Open the Preferences dialog and locate the sound card settings.

The sound card settings in the Preferences dialog.

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 2. Pull down the Audio Card driver pop-up and select the last item.

3. Check the text below the box, does it say ”Driver type: Direct X”?
• If it does, you have DirectX installed. Proceed to the next step, “Finding
out if your DirectX driver is emulated or not”.
• If it doesn’t, instead skip to the heading “Selecting an MME Driver” below.

Finding out if your DirectX driver is emulated or not

If (and only if) you have DirectX installed you need to Þnd out if the audio card
driver is emulated or not. You should not use an emulated DirectX driver with Re-
Birth One. To Þnd out which type of driver you have, proceed as follows:
1. Pull down the Audio Card driver pop-up and select the drivers that cor-
respond to the card you want to use, one by one.

2. For each one, check the text after ”Driver type:” below the pop-up.
• If one says Direct X only (and the word emulated is not mentioned), use
this driver. Then proceed to the heading “Setting the audio card buffer”,
below.
• If all say emulated, you should not use any DirectX driver. Instead read
“Selecting an MME Driver”, below.

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Selecting an MME Driver
To select the appropriate MME (Multimedia Extensions) driver, proceed as fol-
lows:
1. Pull down the Audio Card driver pop-up and select the first item on the
menu that corresponds to the name of the card you want to use.
You should avoid choosing generic driver names.

2. Check the text below the box, it should say ”Driver type: MME”. If it
doesn’t, select another driver.

3. Proceed to the heading “Setting the audio card buffer”, below.

Setting the audio card buffer

It is very important that you trim the buffer setting properly. The buffer setting is a
balance between fast response to control changes on one hand and ÒsafeÓ audio
playback on the other.
1. Open one of the demonstration songs.

2. Activate Playback.

3. Open the Preferences dialog, from the Edit menu.

4. In the Preferences dialog, locate the Playback performance slider and

drag it all the way to the right.

5. Now drag the Playback Performance slider to the left, a bit at a time. Try
positions further and further to the left, until the sound starts ”breaking
up” and the Underruns indicator starts incrementing.

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6. Drag the fader a little bit to the right, so that the sound is OK again.
• If you use DirectX under Windows 95/98, you will normally be able to
trim the buffer sizes down to between 40 and 90 milliseconds.
• If you use MME under Windows 95/98, the same figure will normally be
around 160 milliseconds.

7. Close the dialog.

You are now Þnished with your audio settings for ReBirth. The settings you just
made are automatically stored in your computer!

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Macintosh computers

Why are there two ways of playing back audio?

ReBirth One uses the Sound Manager on the Macintosh to play audio. This allows
it to play in the background and happily co-exist with other audio applications.
Great care has been take to make ReBirth One compatible with all other Sound
Manager applications. This is what we call ÒMultitasking friendlyÓ audio playback.
However, thereÕs problem in some combinations of Sound Manager versions and
certain Mac hardware, where ReBirth One canÕt automatically determine the cor-
rect Òaudio buffer sizeÓ. This might lead to crackles or glitches in the audio play-
back.

● We recommend all users to check the buffer size, as described below, even if
you don’t have problems with your audio. If you can use a lower buffer set-
ting than the default, the program will be more responsive to control move-
ments.

On some rare occasions, adjusting the buffer size might not be enough to remedy
the Sound Manger problems. In this case, you have the option of selecting another
method for playing back audio, which we call ÒCrackle safeÓ. Selecting this
method has some drawbacks though, see the end of this chapter.

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Setting the correct Buffer size
Normally you should leave the Sound Manager Audio setting at ÒMultitasking
friendlyÓ. However, you should make sure you have the correct audio buffer size
setting. Proceed as follows:
1. Open one of the demonstration songs.

2. Activate Playback.

3. Open the Preferences dialog, from the Edit menu.

4. Locate the Buffer size pop-up.

5. Select the smallest buffer size that allows you to play back audio without
problems.

6. If none of the buffer sizes seem to work, switch from “Multitasking

friendly” to “Crackle safe”, in the Preferences dialog and set the buffer
pop-up to the value closest to “(1024)”.

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About the Crackle Safe option
Selecting the Crackle Safe option will make sure that ReBirth One works
properly in all situations. However, the mouse pointer will not move as
smoothly and you might possibly run into audio problems with other pro-
grams playing via the Sound Manager. Furthermore ReBirth One might
possibly disturb other background processes such as networking.

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3
Overview and Basic Concepts 3

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Introduction
This chapter introduces you to some basic methods and concepts in ReBirth One.
To get a Òhands-onÓ introduction to the program, read the quick tutorials in the
printed documentation.

Song Mode vs. Pattern Mode

The Song/Pattern Mode switch.

These are the two major modes in ReBirth One. Basically, Pattern mode is for cre-
ating Patterns and experimenting with sounds and other settings. Song mode is for
stringing Patterns together and recording the automation of controls. Here are a cou-
ple of the major differences between the two modes:
• In Pattern mode, the controls are all manual, that is, if you move them
they stay where you left them. In Song mode, the controls are all auto-
mated, that is they will move automatically on playback, if movements
have been recorded. You can not move the controls during playback in
Song Mode.
• In Pattern mode, the Loop feature has no function, the currently selected
Patterns always loop. In Song mode the Loop is used to repeat any section
of the Song.

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Setting Values
Apart from the normal operations, double clicking, dragging, using menus, etc, Re-
Birth One employs some special techniques for changing values:

Knobs

Knobs come in a number of different shapes.

Knobs are always operated in the same way: To change a value, press the mouse
button over the knob, and drag up/down.

Faders

An example of a fader.

To move a fader, press the mouse button over the handle and drag up/down.

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Value displays

A value display.

The value displays have two small arrow buttons located beside them.
• Clicking either of these buttons changes the value one step up/down.
• Keeping the mouse button pressed over an arrow, makes the value
change continuously.

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Using the Computer Keyboard
The computer keyboard is used for four purposes:
• For menu shortcuts.
These are listed on page 195.

• For Transport controls (Play, Stop, Rewind etc).

This is mainly done from the numeric key pad. Again see page 195.

• For quick programming of the synthesizers.

To do this, activate “Program Synth from Keyboard” on the Options menu. For
more information, see page 50.

• For Pattern switching.

For this to work, “Select Patterns from Keyboard” must be active, on the Op-
tions menu. See page 195 and below for details.

Real Time Operation

All operations in ReBirth One can be executed while the program is playing, even
saving to disk! There is no need to turn off playback to perform any operation!

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Pattern selection

The Pattern selectors.

How to select a Pattern

Each of the three main sections has 32 Patterns, arranged in 4 Banks of 8 Patterns.
• To select a Pattern in the current Bank using the mouse, simply click on
the corresponding Pattern button.
• To select a Pattern from the computer keyboard, make sure “Select Pat-
terns from Keyboard” is activated on the Options menu and press the rel-
evant key, as indicated in the figure on the next page.
• To select a Pattern in another Bank, first select a Bank, using the buttons
labelled A to D, then select a Pattern.
No change takes place until you actually select a Pattern.

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 Synth 1 - Pattern 1 to 8

Synth 2- Pattern 1 to 8
Rhythm - Pattern 1 to 8

11234567890
ÊQWERTYUIOP
ÒASDFGHJKL;
ÍZXCVBNM,./
Switching a section off
You can turn a section off completely, by deactivating it in the Pattern section. This
is equivalent to selecting a silent Pattern.

A section, activated and deactivated.

Pattern changes take effect on the next downbeat

When you select a new Pattern, nothing happens until the Pattern finishes playing,
this time around. In other words, a switch to another Pattern always happens when
the current Pattern comes to an end.
This can be used to good effect, especially when switching Patterns from the com-
puter keyboard; you have time to hit the right key in advance.

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 Please note that this is true for each individual Pattern, regardless of its length. For
very short Patterns, it is more important to hit the key or press the mouse button at
the right time.

About Focus and the Focus Bar

Many operations may only be performed on one of the three main sections, in Re-
Birth One. To see which section Òhas the focusÓ, look for the vertical green bar, to
the right of the Pattern selectors.

In this example, the rhythm section has the focus, as indicated by the green bar.

The focus can be moved to the relevant section, in one of three ways:
• By clicking with the mouse in the relevant section.
• By selecting a Pattern in a section.
This automatically sets the focus to that section.

• By using the up and down arrow keys on the computer keyboard.

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The Mixers

A Mixer

Section mixers
In the Mixer parts of the various sections, you can adjust the relative balance of vol-
ume. You can also adjust things like panning (stereo positioning) and effects. This
is all covered in great detail in the chapter ÒMixing & EffectsÓ. For now please note
that:
• If a section is too loud or weak, use the volume faders to balance it.
The small meter gives you an indication of the output level from this section.

• If you want to move the sound left/right in the stereo image, use the Pan
control.

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Master level

The Master Level section.

The master level adjusts the overall audio output from the program. For more info,
see the next paragraph.

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About Levels
You have to be slightly careful when adjusting levels so that you donÕt get any un-
wanted distortion on the master output, due to a phenomenon called clipping. On
the other hand, levels that are too low can lead to an undesired amount of noise.

● You will never run into clipping in the individual sections. Any distortion that
appears can always be removed by lowering the Master level, as described
below.

HereÕs our recommended procedure for setting levels:

1. Set up a rough balance between the three sections.

2. Lower or raise the master level so that the signal on the meters only hit
“the red”, during the loudest passages.

The level should very rarely

reach this marking.

3. If you change your mixer levels, or adjust the sound on the synth section,
be sure to re-check the master level.
So why is it so important to adjust the levels correctly? Those of you who only have
experience of analog equipment should note that digital levels are completely dif-
ferent in nature. A digital audio system can by definition only represent a limited
range of levels correctly. This range is called the ÒheadroomÓ.

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When you try to exceed the headroom (when the signal is amplified to a level the
system canÕt handle), hard clipping occurs, and the sound will be distorted in a very
harsh, unpleasant way (if you like this distortion, go ahead and use it, we donÕt
mind. We just want to make sure you donÕt run into it unintentionally.)
On the other hand, if the levels are too low the signals may not be represented accu-
rately enough and unwanted noise will be audible.
Systems based on personal computers are slightly different compared to dedicated
digital audio systems, by nature. Maintaining the headroom properly is even more
critical in a personal computer system. Therefore, in our efforts to provide you with
the best possible sound quality in all situations, we have handed over some of the
responsibility to you, the user.
ItÕs up to you to check and adjust the master level. This method ensures the highest
possible sound quality, in all situations.

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4
Programming Rhythm Patterns 4

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Preparations
1. If required, create a New song or Open an existing one.

2. Make sure Pattern mode is selected.

You can only program Patterns in Pattern mode. See page 18.

3. Select a Pattern to program.

How to do this is described on page 22.

4. The Pattern you select can be empty or it can be one already playing
some rhythm, it doesn’t matter. If it already plays something, you can ei-
ther clear it (see later in this chapter) to start over from scratch, or mod-
ify the existing rhythm as you like.

● Please note that it is often convenient to make copies of the same basic
rhythm into a few Pattern locations. You can then make minor or major vari-
ations to this rhythm, in each of the Patterns, and use them in various parts of
the Song. For more info on copying, see page 60.

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Soloing the Rhythm section
If you want to make sure you are only hearing the rhythm section while program-
ming, you will want to turn off all other sections:
• Click on the on/off button in the mixer for both synths, to turn them off.

With both synths turned off, you will only hear the rhythm section.

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Programming and Playback
You can program rhythms, either when the program is in stop mode or when it is
playing. It doesnÕt really matter which, but the most convenient is probably to have
playback going so that you will hear how the Pattern evolves as it repeats.

Selecting sounds
Before you can start programming any notes, you must of course select a sound.
This can be done in two ways:
• By using the selector control to the right in the rhythm section.
Drag up/down, as always.

The sound selector.

• By clicking directly on the sound name legends above the colored step
buttons.

The sound selector buttons.

A list of all sounds can be found on page 145.

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About “Shared slots”
Some instrument ÒslotsÓ are shared by two sounds. One example is Low Tom (LT)
and Low Conga (LC). You select between shared instruments as the illustration be-
low indicates:
First click in either of these two places
...then click on the switch.

More about shared instruments on page 36.

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Adding and Removing Notes
To add notes with the selected sound, proceed as follows:
• Click on the colored step buttons, to add a note with the selected sound.
The step buttons that are lit up indicate programmed notes.

The sixteen step buttons represent sixteenth notes in a measure. If you for example
add notes at step 1 and step 9, you will get sounds at the downbeat and on the third
quarter. Note that steps 1, 5, 9 and 13 are highlighted with a red line above the re-
spective step buttons.

Here, a bass drum is programmed on step 1 and 9.

• You can remove notes in the same way, by clicking on steps that are al-
ready lit up.

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Dragging to Add/Remove notes
You can also drag to add/remove a number of notes at the same time. Whether the
drag operation adds or removes notes depends on the step where you start dragging.
If this is empty, you will be adding, if it already plays a note, you will be removing.
If for example you want to add a sound at all sixteenth notes in a Pattern, proceed
as follows:
1. Locate a step where there is no note (not lit up).

2. Position the pointer over this step, and press the mouse button.

3. Drag back and forth over the steps, without releasing the mouse button.

4. When all step buttons are lit up, release the mouse button.

Dragging to add notes on all sixteenths.

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Working with Shared Instruments
There are 16 sounds to select from, plus the Accent (see page 38). However, there
are only 11 sound slots (not counting the Accent), that is, you can only have up to
11 sounds playing at any time (actually this is not exactly true, but letÕs say that this
is the way things are, for now, for arguments sake. WeÕll get back to this later).
An example of a Òshared instrumentÓ is Low Tom (LT) and Low Conga (LC). You
can only have either Low Tom or Low Conga in one Pattern.

Selecting “shared” sounds

To select one of the two sounds in a shared ÒslotÓ, proceed as follows:
1. Select the basic sound in the pair, using the rotary knob.

2. Flick the switch on the panel that selects between the two sounds in a
shared slot.

These switches selects

between two sounds in a
pair.

You can flip the shared instruments switches at any time, even after program-
ming a sound. The Pattern will then play back with the newly selected sound,
rather than the other.

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Using Song Mode to play two shared instruments in one Song

● If you are not familiar with Song mode, the text below might not make sense
to you. Please get back to this section once you have acquainted yourself
with Song automation.

The settings of the shared instrument switches are part of the Song automation, like
most other controls on the panel. This means that a Pattern programmed with Toms
might be played back with Congas, if that is the way the switches are set in the Song.
While this might be confusing at first, it can also be used to good effect. You can
program sound changes as part of your song automation, and therefore have both
(for example) Toms and Congas in one Song. See page 79 for more information.

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Working with Accents
The sound farthest to the left on the Panel is labelled AC, for accent. This is not a
drum sound as such, but rather a way to control the dynamics for a Pattern. Steps
where an Accent is programmed will be louder than other steps. The effect is global
for all sounds, that is, they will all be louder by the same amount.
1. Select the Accent Instrument.

2. Add an Accent to steps you want to be louder.

3. Adjust the Accent volume knob, to set the difference in volume between
accented and un-accented steps.
Accent is most often used to add ÒlifeÓ to a rhythm part. To check out the effect, try
this example:
1. Program a simple Pattern that plays a closed hi-hat on all sixteenth notes.

2. Add accents to every other steps, that is step 1, 3, 5, 7 etc.

3. Adjust the Accent level.

About open and closed hi-hat

Open hi-hat (OH) and closed hi-hat (CH) are mutually exclusive. That is, only one
of them can sound at a time. Here are the rules:
• If you program an open hi-hat on one step, and a closed on the next, the
closed hi-hat will cut off the sound of the open hi-hat.
• If you program open and closed hi-hat on the same step, you will get a
very short open hi-hat sound, that sounds very much like a closed hi-hat.

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Clearing the Pattern
If you wish to clear the Pattern, proceed as follows:
1. Move the focus bar to the rhythm section, either by clicking between the
Pattern selector and the actual “drum machine”, or by using the up/
down keys on the computer keyboard.
Either way, you want to green indicator to be in the rhythm section.

Focus set to the rhythm section.

2. Select Clear from the Edit menu.

The Pattern is cleared.

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Working with various Pattern Lengths
By default all Patterns are one bar long, that is they are made up of sixteen sixteenth
note steps. However, you can shorten a Pattern to any number of sixteenth notes,
between 1 and 16. This allows you to program rhythms in unusual time signatures.
• To set the Pattern length, use the Length indicator arrow buttons.

The Pattern Length setting.

This operation can be performed at any time, whether the Pattern is empty or not,
and both in playback and stop mode. The change takes effect immediately.

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Sound Parameters

The rhythm section sound parameters.

The various sounds have different parameters that allow you to adjust the sound.
Apart from level, not all sounds have additional parameters. Those that do, don't all
share the same parameters. Below follows a general round-up of the available op-
tions:

Level
This is simply the volume for the sound.

Tune
This is the pitch of the sound, the tuning. For the snare, please note that this only
affects the ÒbodyÓ of the sound, not the ÒrattleÓ.

Tone
This is like a tone control, a ÒfilterÓ that adjusts the timbre. The higher the setting
the brighter the sound.

Decay
This adjusts the length of the sound.

FX
This is only available for the snare. It adjusts the balance between the ÒbodyÓ of the
sound and the ÒrattleÓ.
- 41 -
5
Programming Synth Patterns 5

- 42 -
Preparations
1. If required, create a New song or Open an existing one.

2. Make sure Pattern mode is selected.

This is done using the Song/Pattern switch on the Transport panel. You can
only program Patterns in Pattern mode.

3. Select a Pattern to program.

How to do this is described on page 22.

The Pattern you select can be an empty one or one already playing something, it
doesnÕt matter. If it is Þlled with notes you can either clear it to start over from
scratch, or modify the existing Pattern as you like.

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Soloing a Synth section
If you want to make sure you are only hearing one of the synths while programming,
you will want to turn off all other sections:
• Click the on/off button in the mixer for the rhythm section and the other
synth, to turn them off.

In this example you will only hear the upper synth.

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Programming and Playback
You can program synth Patterns, whether the program is in stop mode or playing. It
doesnÕt really matter which, but the most convenient is probably to have playback
going so that you will hear the notes you have programmed so far as the Pattern re-
peats.

Notes or pauses to start with?

In a new Song document, all Patterns are filled with one-pitch sixteenth note Pat-
terns. If youÕd rather start with complete silence, clear the Pattern as described on
page 55.

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Basic procedures
Basically, creating a Pattern is a question of selecting each of the sixteenth note
steps, and making settings for each one. These settings determine whether each of
the steps plays a note or a pause, what the pitch should be etc.
HereÕs a step by step instruction for the basic method of making a Pattern:
1. Make sure you are not in Pitch mode. If the Pitch mode light is lit, click
on it to turn it off.
See page 48 for more information on Pitch mode.

Pitch mode deactivated.

2. Use the Step and Back buttons to move to the step you want to make
changes for.
The step counter shows you where in the Pattern “you are”.

The step counter.

- 46 -
● If you want to move to step one, there’s a shortcut: Click on the Pitch mode
button twice.

3. Adjust the settings for each step, as desired.

Below follows a quick description of possibilities, details about each one fol-
lows later in this chapter.

This determines whether the

current step plays or not.
The pitch for the step.
Decides if the
pitch of this step
should slide over
to the pitch of the
next step.

These allow you to trans- Determines whether this step should be

pose the note up or down. played with an accent (louder and with a
different character).

4. Use the Step button to move to the next step, and make settings for this.
If you are already at the last step, this button takes you to the first step in the
Pattern.

5. If required, use the Back button to step back through the steps and adjust
the settings as needed.
If you’re at the first step, this button takes you to the last step.

6. Repeat steps 2 to 5 above for the remaining steps until the Pattern plays
as desired.

- 47 -
Using Pitch Mode
When Pitch mode is activated, the programming procedure is slightly different. In
this mode, as soon as you select a pitch on the keyboard, the program automatically
advances to the next step. This can be used for two things, for programming a Pat-
tern quickly from scratch, and for altering the pitches in an existing Pattern.

Programming a Pattern from scratch in Pitch Mode

1. Set up an empty Pattern and make sure you are at the first step.
Check the step counter if you are unsure.

2. Activate Pitch mode.

Pitch mode activated.

3. For the first step, set the note/pause, octave, accent and slide switches as
desired.

4. Select a pitch for the step by clicking the keyboard, and the program au-
tomatically advances to the next step.
Note that selecting the pitch should be the last thing you do, since the pro-
gram then advances to the next step.

5. Repeat steps 3 to 4 until the Pattern is finished.

- 48 -
Changing the Pitches in an existing Pattern
Pitch Mode is extremely useful if you have a Pattern with the correct rhythmic
phrasing etc, but want to use it in different places in the song, with other pitches (for
example to fit different chord progressions).
1. Select the Pattern and make sure you are at the desired step, probably
the first.

2. Activate Pitch mode.

3. Select a new pitch for the step by clicking the keyboard, and the program
automatically advances to the next step.

4. Repeat until the Pattern is finished.

If you have a step where the pitch is already correct, you can instead just click the
Step button to advance to the next step.

- 49 -
Using the keyboard for creating and editing Patterns
There are computer keyboard equivalents for all the step settings. On the next page
there is a diagram of these. We strongly recommend you to take some time to get
acquainted with using the keyboard, it is a much faster way of programming Pat-
terns than using the mouse, once you get used to it.

Switching Keyboard Input to Synth programming

On the Options menu, you will Þnd a switch for what the keyboard is used for. To
use the keyboard for synth Pattern editing, set it to ÒProgram Synth from Key-
boardÓ.

Setting the focus to the correct section

Since there are two synthesizer sections, you must also make sure that your key-
board input is routed to the correct one. This is done by moving the focus bar to that
section (see page 24). This is done by clicking in the relevant section or by using the
cursor up/down keys.

In this example, the focus is set to a synth section.

- 50 -
 Note/Pause Back

4567890-=ı Slide
Accent

ERTYUIOP[]
SDFGHJKL;'\ Step

XCVBNM,./Í
Octave Up
Pitch keys Octave Down

The keys used for editing synth Patterns. The illustration shows a US keyboard. Note that the keys are
on the positions indicated, regardless of which letters are printed on the keys in your particular country.

- 51 -
Working with Octave settings
The Octave settings transpose a step one octave up/down. This gives you a total oc-
tave range of three octaves, from the lowest C transposed down to the highest C
transposed up (not counting the tuning parameter, see page 57).

● You can activate both octave switches at the same time, but this is the same as
having no transposition at all.

Working with Accents

When Accent is activated for a step, the step will be louder, different in sound char-
acter and the note will be shorter. Exactly how different it will be is determined by
the Accent knob setting.
If the Accent knob is all the way down, notes with Accent will only be shorter.
The Accent button activates
Accent for the current step...

...while the Accent knob sets the

amount for all “accented” steps.

- 52 -
Working with Slide
When Slide is activated for a step, the note will be tied to the next and the pitch will
continuously glide to the pitch of the following step.

● Please note that Slide should be activated on the note you slide from, and not
the note you slide to.

There are a few special cases you should be aware of:

Sliding from a pause

If a step is set to pause it wonÕt sound. However, if Slide is activated for that silent
step, the next note will still slide in to the right pitch. The slide will start at the pitch
set for the silent step and end at the pitch of the next step.

Several sliding notes after each other

If you have several sliding notes, one after the other, they will all be tied together to
one long legato phrase. This can be used to good effect to create ÒwavyÓ or pitch
bend effects.

Sliding to notes with the same pitch – long notes

If two or more notes are tied together with the slide feature, but they all have the
same pitch, the result will be one long note. This is how to create longer notes
(eighth notes, quarter notes etc).

- 53 -
Sliding and Accents
The accent affects the envelope. However, if a note is sliding from previous notes,
and you add Accent for one ore more steps, the exact effect of the Accent depends
on a number of parameters. Sometimes the Accent has less effect on sliding notes.
Experiment to get the hang of it!

- 54 -
Clearing the Pattern
If you wish to clear the Pattern, proceed as follows:
1. Move the focus bar to the desired synth section, either by clicking be-
tween the Pattern selector on the actual ‘synth panel’, or by using the up
and down keys on the computer keyboard.
Either way, you want the green indicator to be in the synth section you want
to clear.

2. Select Clear from the Edit menu.

The Pattern is cleared.

Working with various Pattern Lengths

By default all Patterns are one bar long, that is they are made up of sixteen sixteenth
note steps. However, you can shorten a Pattern to any number of sixteenth notes,
between 1 and 16. This allows you to program rhythms in different time signatures.
• To set the Pattern length, use the Length indicator arrow buttons.

The Pattern Length setting.

This operation can be performed whether the Pattern is empty or not, and both in
playback and stop mode. The change takes effect immediately.

- 55 -
6
The Synth Sound settings 6

- 56 -
 The Synth sound controls.

Tune
This sets the tuning of this synth section. The range is ±1 octaves in steps of semi-
tones. This control can be used to match the pitch of Patterns programmed in differ-
ent keys, for real time transposition and for effects.

● Please note that there is also a Transposition function, that allows you to
change the programming of the Pattern so that it fits another key. This is often
preferred to adjusting the Tune setting.

Cutoff
This is the overall filter setting for the sound. The higher the setting, the ÔbrighterÕ
the sound. This setting interacts with Envelope Modulation as described in more de-
tail under the Envelope Modulation heading later in this chapter.

Resonance
This is another control for the overall character of the sound. Technically it routes
the sound at the output of the filter back to the input, in a feedback loop. Soundwise
it gives the sound a more hollow, pronounced character. Together with envelope
modulation, slide and accent (see page 72), it is largely responsible for the 303
- 57 -
 sound character. To try this out, turn the resonance all the way up, and twist the Cut-
off and Envelope Modulation knobs.

Env. Mod. (Envelope Modulation)

This adjusts the way the envelope affects the cutoff frequency. LetÕs describe this
in more detail:
As described above, the cutoff setting is a basic tonal setting for the filter. In addi-
tion to this there is the envelope, which makes the cutoff frequency vary as the note
decays. This is the way many ÒrealÓ instruments work, as the sound decays it also
gets less bright. The envelope simulates this by making the cutoff frequency contin-
uously lower as the sound decays. How fast this decay actually occurs is set with
the Decay knob, see below.
• In its lowest position, the envelope has little effect on the sound.
• At higher values, the envelope makes the filter open further, that is the
sound will be brighter.

Decay
This adjusts the length of the envelope, to make notes decay faster or slower.

Accent
This knob is used to set to what extent the steps with Accent activated should be dif-
ferent from the other steps. The setting does not only affect volume, but also the
shape and character of the sound.

- 58 -
7
Pattern Editing Functions 7

- 59 -
 ● To have access to the functions described in this chapter, you must be in Pat-
tern mode, not in Song mode!

Cut, Copy and Paste (Pattern)

These functions allow you to move and copy Patterns between Pattern locations.
You can Cut, Copy and Paste within one Song document, or between two Song doc-
uments. Proceed as follows:
1. Set the focus to the section you want to cut or copy from.
See page 24 for details about the focus.

2. Select the Pattern you want to cut or copy.

3. If you want to move the Pattern to a new location, select Cut from the
Edit menu. If you want to make a copy of it, instead select Copy.

4. If you want to Paste into another Song, click on its window, so that it be-
comes active.

5. Move the focus to the section where you want to paste the Pattern you
just Cut/Copied.
If you want to Paste it in the same section, this step is not required.

6. Select the Pattern location where you want to Paste.

● Note that when you Paste, the Pattern that was currently in this location, will
be overwritten and can not be retrieved.

- 60 -
7. Select Paste from the Edit menu.
The Pattern you cut or copied is Pasted in at the selected Pattern location.

● You can not Paste Synth Patterns into the Rhythm Section and vice versa.

- 61 -
Pattern Functions
There are a number of menu functions that allow you to perform various types of
editing to your Patterns.

Selecting the Pattern to be affected

Any of the functions described above always operate on one Pattern in one section.
Before you use the function you must make sure the right Pattern will be affected.
Please proceed as follows:
1. Set the focus to the correct section.
See page 24 for details about the focus.

2. Select the Pattern you want to be affected.

3. Select the function from the Edit menu.

About multiple menu items

Some functions appear more than once, depending on the various options. The
available items might also vary with the focus. If the rhythm section has the focus,
other options are available than if a synth section has a focus. LetÕs take Shift as an
example of this:
• If a synth has the focus, there will be two Shift items: Shift Pattern Left and
Shift Pattern Right.
• If the rhythm section has the focus there will be four Shift items: Shift Pat-
tern Left, Shift Pattern Right, Shift Drum Left and Shift Drum Right.

- 62 -
Clear
To clear a Pattern completely, use this function.
• For the rhythm section, this will deactivate all steps for all instruments.
• For the synth sections, this will set all steps to pause (as opposed to
note), no accent, to the pitch C, no slide, and no octave transposition.
In both cases, this means the Pattern will be silent after the operation.

Shift Pattern/Drum Left/Right

This function moves the notes in your Patterns ÒleftÓ or ÒrightÓ. It either acts on the
whole Pattern (Shift Pattern Left/Right), or Ð for rhythm Patterns Ð it can be used to
shift just the selected drum instrument (Shift Drum Left/Right).
If you for example use Shift Pattern Right on a synth Pattern, notes that were on
step 1 will be moved to step 2, notes that were on step 2 will be on step 3, and so on,
up to the notes on the last step which will be moved to the Þrst.
This function can be used for interesting rhythmic effects. It can sometimes also be
used as a rescue. If, for example, you have created a great synth Pattern but realize
that the downbeat as you hear it, is not on the fist step, use this function rectify the
situation. To move the Pattern several steps, simply use the function repeatedly.

● This function does not take Pattern length into consideration. It always oper-
ates on all 16 steps.

- 63 -
Random Pattern/Pitches/Accents etc./Drum
This randomizes the whole or parts of the Pattern (actually the method is not com-
pletely random, the are some hidden rules for some of the options).
Use this is as a way to generate music automatically, or as an inspirational tool. Pat-
terns that are generated in this way can be edited as any other, so if you donÕt think
the result is exactly what you need you can change it in whatever the way you re-
quire.

Option Description
Random Pattern Creates a complete Pattern with random pitches, accents,
slides etc.
Random Pitches Randomizes the pitches of the Pattern without changing
anything else.
Random Accents Randomizes the Note/Pause, Accent, Slide and Octave set-
etc. tings for the steps.
Random Drum Randomizes the programming for the selected rhythm in-
strument.

- 64 -
Alter Pattern/Pitches/Accents etc./Drum
This alters existing synth and rhythm Patterns, by randomly changing the positions
of existing settings. Note that there must be some material to alter, for this function
to work. In other words, applying it to an empty Pattern will leave you with an emp-
ty Pattern.

Option Description
Alter Pattern Alters all aspects of the Pattern.
Alter Pitches Alters the pitches.
Alter Accents etc. Alters the Note/Pause, Accent, Slide and Octave settings.
Alter Drum Alters the rhythm of the selected instrument.

● This function does not take Pattern length into consideration. It always oper-
ates on all 16 steps.

- 65 -
Transpose
This function allows you to change the pitch of the notes so that the Pattern fits an-
other key. The dialog box that appears allows you to specify the number of steps
you want to transpose up/down (±12 semitones).

The transpose dialog (Mac version).

● Please note that there’s a limitation to how much you can transpose notes. If
they already have very high pitches, they might be moved one octave in ei-
ther direction, so that they “appear” within the valid range of pitches.

- 66 -
8
Mixing & Effects 8

- 67 -
Introduction
This chapter describes how to use the various features used for creating a Þnal mix
of the sounds: levels (volumes), panning and effects.
The effects in ReBirth One consist of a distortion unit and a delay. These work just
like their physical counterparts, you connect them in the signal chain and make set-
tings for intensity and other characters of the effect.
DIST INSERT
VU DDL SEND

LEVEL PAN

Synth 1

VU DDL SEND

Synth 2 LEVEL PAN

VU DDL SEND
Rhythm

LEVEL PAN

Distortion
VU
LEFT
RIGHT

DDL

VU

VU

STEREO OUT

ReBirth One signal flow diagram.

- 68 -
Setting Levels

Section Levels

The section levels are

located in the Mixers.

Each of the three sections has a level control, the slider. This is used to adjust the
balance of this section against the others. Here are some guidelines for setting lev-
els:
• Don’t worry about cranking a section all the way up. Any distortion (clip-
ping) that occurs can always be removed with the Master Level control,
see page 27.
• To get the lowest amount of noise, keep the levels up as much as possible
at all times. For example, set the loudest section to play at full level and
adjust the other levels downwards to this, to get the right balance.

- 69 -
Master Level and Meter

The Master level and meter.

This is used to adjust the overall level from ReBirth One. It is also used to compen-
sate for any clipping that occurs on the output, due to loud levels from the three sec-
tions and the effects. Again, see page 27.

● The Master setting is not part of the Song automation!

Muting
A Mixer...
...muted...
...unmuted.

In each mixer thereÕs an on/off setting, a mute function. This is used to temporarily
silence the audio from a section.

● This setting is not part of the Song automation. To incorporate silent parts in
the Song, use the Pattern on/off switches instead, see page 79.
- 70 -
Using Pan
The Pan controls
are located in the
Mixers

Panning allows you to position a section anywhere in the stereo image. There are
several uses for this:
• To increase separation between the three sections, by giving them differ-
ent stereo positions.
• To create interesting effects by panning a section one way and adding a
delay to it, panned the other way.
• To pan sections fully hard/left to use the stereo output as two separate out-
puts. You can then get total separation of sections when recording to other
media or using external effects.

- 71 -
Dist (Distortion)
Distortion
on/off
Distortion
Amount

The Distortion section.

Distortion makes the sound dirtier and grungier, like when you turn up the volume
on a guitar amplifier. The distortion in ReBirth One is an insert effect. This means
it will be inserted into the signal, just after the output of one of the sections. Only
one section at a time can be distorted.

Trying out the Distortion

1. Activate playback, in Pattern mode.

2. Make sure only one of the synthesizers sound, by using the Mute buttons
in its mixer.

3. Active the Dist in that synth’s mixer, by flipping the switch so that the
light lights up.

4. Activate the Distortion, by clicking the on/off button in the Dist section.

5. Raise the Amount switch in the Dist section to about one o’clock.

6. Check the sound with and without distortion by clicking the on/off but-
ton in the Dist section. Also check the Distortion effect at various cutoff
and resonance settings.

- 72 -
Routing
To decide which section will use the distortion, you use the Dist switches.
• Only one section at a time can have Dist activated.
• You can turn Dist off for all sections, should you wish.

This section has

Distortion activated.

Activating/deactivating
Once you have decided which section will use the Dist effect, you need to activate
the effect itself. This is done in the Dist section by clicking the on/off button.
• When this is on, one of the sections will pass through the Distortion ef-
fect.
• When this is deactivated, no sound will pass through the distortion effect
(bypass).

The Amount setting

There is only one setting for the distortion, Amount. The higher this setting, the dirt-
ier the sound.

- 73 -
Delay
Delay on/off
Sixteenth note/eighth
note triplet switch
Delay Length (sixteenths
or eighth note triplets)
Feedback (number
The panning of the of repeats)
output from the delay

The Delay section.

Delay adds echoes, or repeats, to the sound. The Delay effect in ReBirth One is a
send effect, which means is can be utilized by all the sections, by variable amounts.
In addition, the Delay appears after the distortion in the signal chain. In other words,
the sound will first get distorted and then pass though the delay unit. Please refer to
the signal flow diagram on page 68.

- 74 -
Trying out the delay
1. Make sure only one of the synthesizers sound, by using the Mute buttons
in the mixer.

2. Select a pretty simple synthesizer Pattern and activate playback, in Pat-

tern mode.

3. Raise the Delay setting in that synth’s mixer, to about two o’clock.

4. Activate the Delay, by clicking the on/off button in the Delay section.

5. Set the delay controls as the picture below indicates:

This will give you a basic delay with a length of three sixteenth notes with ap-
proximately three repeats.

Delay example.

- 75 -
The Delay Amount Setting

This section has

Delay added.

The Delay knob in each section is used to determine how much of the signal from
this section that should be ÒfedÓ into the delay unit.
• If you set this all the way down, no delay will be added to this section.
• If you raise it all the way up, the first repeat from the delay will have the
same level as the original signal.

Activating/deactivating
In addition to setting the Delay level for each section, you need to activate the Delay
section itself. This is done by using the on/off switch in the Delay section on the
front panel.

- 76 -
The Delay settings

Setting: Description:
Number of sixteenth notes This is the length of the delay. The shortest setting is
(Steps) one sixteenth note, the longest is 32 eighth note trip-
lets (see below).
Straight notes/Triplets This allows you to switch between repeats at eighth
note triplets and straight sixteenth notes.

Feedback This is used to set the number of repeats, by adjusting

how much of the signal from the output of the delay is
fed back into the input. When this is all the way down,
there will only be one repeat. When it is all the way
up, there will be an infinite number of repeats, which
means the delay will keep sounding even if you stop
playback.
Pan This is used to set where in there stereo image the de-
lay signal will appear. For example, you might pan the
sound from some section to the left and the delay
right, to get a stereo effect.

- 77 -
9
Creating and Playing Songs 9

- 78 -
Introduction
In Song mode you record series of Pattern changes and knob settings and move-
ments, to create a complete Song. Practically all front panel control can be recorded.
You can create automation of filter sweeps, level changes, effect controls, etc.

● The only controls that are not affected by automation are Tempo, the Mute
buttons in the Mixer and the Master Level controls!

About the Song/Pattern Modes

The Song/Pattern mode switch.

The Song mode is drastically different from Pattern mode. Here are some of the dif-
ferences you will encounter:
• Knobs and buttons are always automated.
In Song mode, settings and movement of panel controls are always under au-
tomation control. You can not move any controls when just playing a Song,
you have to have Record activated to do this.

• Pattern selection is automated.

Again, what Patterns will play is determined by what is recorded in the Song,
not any manual Pattern selections you make using the mouse or keyboard.

• You normally don’t perform Pattern editing in Song mode.

You can re-program the currently playing Pattern. However, since the Song
might switch to another Pattern during playback, be careful so that you don’t
re-program the wrong Pattern!
- 79 -
Playing Songs
When you open a Song, it will play back just as recorded, together with all Pattern
changes, panel settings and automation.
The following possibilities are available:
• You can use the Transport controls (see the printed documentation) to
move to any position within the Song and start playback from there.
• The Song doesn’t really have an end. All Songs can be up to 500 meas-
ures in Length and playback will continue up to that point, unless you
stop it before.
• You can set up and use the Loop to repeat a section, infinitely. If you
want the whole Song to repeat over and over, set up the Loop to encom-
pass the whole piece.
• You can mute and unmute sections and adjust the master faders. These
controls are not part of the Song automation.

- 80 -
Preparations for creating your own Songs

Pattern mode Preparations

1. In Pattern mode, create all the Patterns you want to use in the Song.
There’s actually nothing preventing you from switching back to Pattern mode
at any time, to add and modify Patterns, but you probably want all the basic
Patterns to be ready before you assemble the Song.

2. Try out the basic Pattern changes, to make sure everything works alright.
A good way to do this is to use the computer keyboard for Pattern switching,
see page 195.

3. Set up a basic mix including all the sounds for the Song, even including
effects.

4. Save your Song so you can go back to this stage later.

You are now done with the Pattern mode work. LetÕs switch to Song mode.

- 81 -
Song Mode preparations
1. Switch to Song Mode.

2. Select “Initialize Song from Pattern mode” from the Edit menu.
This accomplishes two things:
• The whole Song is completely cleared.
• The entire Song is set up so that it plays exactly like Pattern mode, just
before you switched over to Song mode.
This includes the control (knob) settings.

- 82 -
Building a String of Patterns
When creating a Song you most likely will want to create the basic chain of Patterns
first, and work on the levels, sounds and effects afterwards. To create the Pattern
changes, proceed as follows:

Preparations
1. Follow the preparation steps outlined above, so that you have an empty
Song to start from.

2. Turn off the Loop.

While this is not required, Loop changes introduces some new concepts, de-
scribed on page 93. Therefore, to get started with Song creation, turn the
Loop off.

The Loop deactivated.

3. Rewind to the first step of the Song (bar counter says “1”).

4. Press the Record button so that it lights up.

5. Select the Patterns for the first bar, by clicking the corresponding Pattern
selectors in the three sections.
From here on there are two ways to go: Step Mode writing and Real Time
writing.

- 83 -
Real Time Writing of Pattern Changes
1. With Record mode still activated, activate Play.

2. Change Patterns as the Song plays back.

You can make changes in just one section, or in several, it doesn’t matter.
Some people will feel confident using the mouse to create the changes for just
one section at a time, others will use the keyboard to arrange the whole song
on the fly, it’s all a matter of personal taste.

● Please check the special notes for creating an end for the Song, see below.

3. When you are done, hit Stop.

4. Rewind and play back to check.

If you made any mistakes, you can correct them now or later, as described be-
low. For now we will assume everything is OK, and that you will want to add
Pattern changes for the other sections now.

5. Rewind to the beginning of the Song.

6. Activate Record and Play and perform the changes for the next section.

7. Repeat as needed.

- 84 -
Step Mode Writing of Pattern Changes
If you prefer to Òpunch in a listÓ of the Pattern changes, without activating playback,
proceed as follows:
1. Follow the steps under Preparations, above. Record mode should be acti-
vated.

2. While you are still at the first bar of the Song, make sure the correct Pat-
terns are selected for this step. If they’re not, select them.

3. Click on the up arrow in the Bar section, to advance to the next Bar.

The arrow buttons allow you to step through the bars in the Song, one bar at a time.

4. Select the Patterns that should play at this bar.

You only need to select actual Pattern changes. If a section should play the
same Pattern as in the last measure, you don’t need to make any Pattern
changes for this section.

5. Advance to the next Bar and select Patterns for this.

6. Repeat steps 4 and 5 as needed.

● Please check the special notes for creating an end for the Song, see below.

7. When you are done, hit Stop.

8. Rewind and play back to check.

If you made any mistakes, you can correct them now or later, see below.

- 85 -
Creating an “end” for the Song
A song is actually always 500 bars, it has no real end before that. Playback always
continues up until bar 500, unless you stop it. Furthermore, all measures in the Song
always play something. This has the effect that you must make sure that there are
enough silent measures at the end of the Song, for your purposes. If you only add,
say, four measures of silence at the end of a Song, and playback continues past those
four measures, the Song will play back any Pattern combination that happened to be
stored at the remaining measures. To avoid this, add a healthy number of silent mea-
sure after your Song end:
1. Set the start of the Loop to the position of the first bar that should be si-
lent.

2. Set the Length of the Loop to maximum value.

3. Activate Recording.

4. Either select silent Patterns or deactivate Pattern playback completely, in

the Pattern sections.

A deactivated Pattern section.

● Do not use the level faders in the mixers for this purpose, it might lead to con-
fusing results, unless you are absolutely sure of what you are doing.

5. Select “Copy touched controls to Loop” from the Edit menu.

6. Deactivate Recording.

- 86 -
Correcting mistakes and making changes to the Pattern
order

Starting Over
If you realize you would rather start over completely, you can always use the ÒIni-
tialize Song from Pattern modeÓ command at any time, to clear the Song complete-
ly.

Making changes to some part of the Song – “Punching In and Out”

If some Pattern change is not as youÕd like it to be, proceed as follows:
1. Move to the position of the first bar where you want to change Patterns.

2. Activate Recording.
You can make changes in Step or Real Time (Play) mode, technically it
doesn’t matter. However, since in Play mode it can be tricky to deactivate re-
cording at exactly the right point in, you might want to perform changes like
this in step mode.

3. Proceed in Step mode or Real Time (Play) mode and select Patterns for
all the relevant measures.

- 87 -
● As soon as you make Pattern selections in one section, that section is consid-
ered “punched in” and will show and play the currently selected Pattern, not
the Pattern changes previously recorded! Also, don’t touch any other controls
than the Pattern selectors, or you will have “punched in” on those too!

4. When you are that the last bar where you want to make any changes,
make those changes and then deactivate recording.

5. Rewind and check.

- 88 -
Recording Control (knob) changes
Once you have your Pattern changes down, it is time to record all the front panel
controls. Use this to ÒmixÓ the Song (volumes, panning and effects) and to set the
sound for the synth and rhythm sections (any sound parameter).

Real Time Recording

1. Make sure you are in Song mode. You will probably also want to make
sure that all Pattern changes are as you want them.

2. Turn off the Loop.

While this is not required, Loop recording introduces some new concepts, de-
scribed on page 93. Therefore, to get started with control recording, turn the
Loop off.

3. Rewind so that you are sure you are at the first step of the Song (bar
counter says “1”).

4. Press the Record button so that it lights up.

5. Activate Play.

6. Move the controls as the Song plays back.

You can make changes to just one control, or to several, it doesn’t matter.

7. When you are done, hit Stop.

- 89 -
 8. Rewind and play back to check.
If you made any mistakes, you can correct them now or later, as described be-
low. For now we will assume everything is OK, and that you will want to add
changes for other controls now.

9. Rewind to the beginning of the Song.

10.Activate Record and Play and perform the changes for the next con-
trol(s).

11.Repeat steps 9 and 10, as needed.

Recording in Stop mode

You can record control changes in Stop mode. However, the settings you make
when recording is activated in stop mode will only appear for a very short time, just
at the beginning of that measure. For the remaining part of the measure, the Song
will play whatever control changes was recorded in real time.

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Correcting mistakes and making changes to Control
(knob) recordings

Punching In and Out – making changes to some part of the Song

If some control recording is not as youÕd like it to be, proceed as follows:
1. Move to a position one or a few bars before the mistake.

2. Activate Recording and playback.

Nothing get’s recorded until you actually “touch” a control.

3. When you are at the right position, press the mouse button with the
pointer over the control you want to record, and start moving it. Perform
the recording.

● As soon as you “touch” a control in this way, that control is considered

“punched in” and will from now on be showing and playing it’s current set-
ting, rather than the settings recorded in the Song. However, this happens in-
dividually for each control, controls that you haven’t touched during this
recording pass are not affected in any way.

4. When you reach the Song position where you want to return to the pre-
viously recorded changes, hit Stop or deactivate Recording (by clicking
the Record button or by pressing [*] on the numeric key pad).

5. Rewind and check.

6. Repeat steps 1 to 4, as desired.

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Filling measures with “static” control settings
There might be situations where you want to make a ÒstaticÓ change to a number of
bars. You might for example want to lower the volume for the first synth between
bars 13 and 21, or make sure the dist Amount is constant throughout the entire Song.
Proceed as follows:
1. If you want to perform this action for just a section of the Song, set up
the Loop to encompass that section.

2. Activate Recording.

3. If you want to, also activate playback.

It is often convenient to make a change in playback mode, since you will then
hear what you are doing! However, note that when you touch a control in this
mode, you will also record that action. Then again, this might not matter
since you will in a short while fill the measures in the Loop or in the whole
Song, with new settings for the control you just touched!

4. When you have the setting right, select “Copy touched controls to Loop/
Song” from the Edit menu.

5. Now, the current setting for the controls you have touched during this
recording pass, will be copied to all measures in the Loop/Song.

6. Deactivate Recording.

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Recording while Looping

A loop between bar 17 and 33.

All of the text above has assumed the Loop has been turned off. However, you can
also record in Loop mode. Basically this is the same as when you record with loop-
ing off, except for one situation: when you reach the position where the Loop starts
over.
As described above, as soon as you touch a control, this is considered as Òpunched-
inÓ for this recording pass, and will show and play the settings you give it now, not
the ones previously recorded in the Song.
However, when you reach the loop end, all controls will be Òpunched outÓ, so that
on the next lap, they will instead play back movements recorded on the previous lap.

● Please note that if the mouse button is still down when the Song reaches the
end of the loop, it will be considered as “punched-in” again. That is, you will
again be recording that control, which means you erase any actions per-
formed on previous laps.

To avoid this, release the mouse button just before you reach the Loop end.

- 93 -
About Recording Pattern changes vs. Control Changes
Actually there is no technical difference between recording Pattern changes and
controls.
The only reason we have described a working order of first creating the Pattern
changes and then the control recordings, is because that is the way most people
seem to prefer to work.
If you like, you can do things in any order. Record some Pattern changes, then some
controls, then re-record the Pattern changes, for example. Whatever control record-
ings you have made will now affect the new Patterns instead!
You can even start by recording the controls and then make the Pattern changes!

- 94 -
Making modifications to Patterns
First, to make modifications to the actual Patterns, we recommend that you switch
over to Pattern mode.
Secondly, you should be aware that any changes you make to Patterns will imme-
diately be reflected in the Song. The Song always plays back the Patterns just as
they play in Pattern mode. In other words, what you record in the Song are switches
between Pattern numbers, not the actual Patterns themselves.

- 95 -
Moving, Removing and Repeating measures in the Song

Removing measures
You may want to completely Remove some measures from the Song:
1. Set up the Loop to encompass the measures you want to remove.

2. Select Cut Loop from the Edit menu.

The measures are removed.

Cutting and Pasting measures

If you want to move or duplicate some measures, proceed as follows:
1. Set up the Loop to encompass the measures you want to move/duplicate.

2. Select Cut Loop or Copy Loop from the Edit menu.

If you select Cut, the measures inside the Loop are removed and copied to the
Clipboard, an “invisible” memory location from where they later can be
Pasted. If you select Copy, the measures are only copied to the Clipboard.

3. Move the Song Position to the place where you want to Paste In the
measures you just Cut/Copied.

4. Select Paste at Song Position or Paste Replace at Song Position.

- 96 -
The difference between Paste and Paste Replace
• When you use “plain Paste”, the measures are inserted into the Song, so
that is lengthened.
If you for example have Cut four bars, and use “Paste at Song Position”, at
Song Position 13, you will get four new measures between measure 13 and
16. These contain the pasted material. Whatever was at bar 13 before the op-
eration, is now at bar 17.

• When you use “Paste Replace”, the Pasted material replaces whatever
was at those measures before.
Again, if you Cut four bars, and use “Paste Replace at Song Position”, at Song
Position 13, the contents of measures 13, 14, 15 and 16 will be replaced by
the measures on the Clipboard.

Repeating measures
This is just a special case of Copy and Paste, as described above. If you are used to
using Copy and Paste in for example a word processing program, you will see that
this is the equivalent of that.
1. Set up the Loop to encompass the measures you want to repeat.

2. Select Copy Loop from the Edit menu.

3. Select Paste at Song Position as many times as you want the Copied
measures to appear, after each other, in a repeated fashion.

- 97 -
How does the Repeat procedure really work?
1. When you Copy the measures inside the Loop, the Song position is auto-
matically moved to the Start of the Loop.

2. When you Paste the first time, this means that what you Paste replaces
the measures in the Loop with the measures on the Clipboard. However,
since these are currently the same, you will notice no difference. But,
when you Paste, the Song Position is automatically moved to the end of
the Pasted section.

3. When you Paste again, the measures are inserted again, right after the
previously Pasted section, and this goes on for as many times as you
Paste without changing anything else in between.

- 98 -
Using the Song Record function in a “live” situation
In a live situation you might want to have Òpartial automationÓ. That is, you might
want Pattern switching to be automatic, but control changes to be manual, or vice
versa.
To a achieve this, proceed as follows:
1. Create a Song that only contains the automation you want, for example
only the Pattern switching.

2. Make sure the Song starts in the right way with all the correct Pattern
and initial control settings.

3. Save the Song. Make a duplicate of the file for safety.

4. In the live situation, load up the Song, position to the beginning and ac-
tivate Recording.

5. Hit Play and perform any Pattern switching or control changes you want
to do live.

6. When the Song is finished, stop.

7. Close the file without saving.

- 99 -
10
Using ReBirth One with Cubase 10

- 100 -
Why use ReBirth One with Cubase?
While ReBirth One is a complete music tool in its own right, you might want to add
other elements to the music, such as:
• Other synthesizers (controlled via MIDI).
• Samples and loops (via a sampler connected via MIDI).
• Vocals.
• Instrumental recordings.
And what better way to do it than to use ReBirth One together with SteinbergÕs
Ôstate of the artÕ audio sequencer, Cubase! Using this as a companion allows you to
expand and integrate your ReBirth One Songs with any other type of music, MIDI
and acoustic recordings. By recording ReBirth One onto audio Tracks in Cubase
you can also add more synth lines than is possible when using ReBirth One by it-
self! For more info on this, see page 128.
There are two ways to integrate the two programs: Synchronization (making the
two programs play at the same tempo) and audio sharing (using audio from both
applications on one computer).
For more background information on the concepts of synchronization see page 115.
For more details about audio sharing, see page 126.

- 101 -
Synchronization

Cubase VST for Macintosh

● Before you create any serious projects that require sync, try out the features
described below and check out “Synchronization Considerations” on page
108.

ReBirth One supports the OMS IAC (Inter Application Communication) system,
which allows you to run MIDI Clock signals from another program to ReBirth One.

Setting Up Cubase
1. Install OMS, and make sure that IAC gets installed properly.
This will require you to use the Custom install option. To verify, check the
OMS folder in your System Folder, after installation. It should contain a file-
called “OMS IAC Driver”.

2. Make sure you have an IAC symbol in your OMS Setup document.
If not, create a new Studio Setup, and when you’re asked whether you want
touse IAC, activate that option.

3. In Cubase VST, pull down the Options menu and select MIDI Setup Sys-
tem.

- 102 -
4. In this dialog, select “IN & OUT” from the OMS Compatibility menu.

Cubase set up to use OMS.

5. Quit Cubase and restart it.

6. On the Options menu, make sure “Play in Background” is activated.

If it isn’t, and you want it to always be, you should consider modifying your
Autoload Song, see the section about Customizing in the Cubase manual for
details.

7. Open the Synchronization dialog in Cubase.

8. In the Sync Out section, locate the MIDI Clock pop-up. Pull down the
menu and select ”¥ IAC Bus #1”.
This routes the MIDI Clock Signals out to OMS from where ReBirth One can
receive them.

Cubase set up to transmit MIDI Clock to the IAC port.

- 103 -
 Setting Up ReBirth
1. In ReBirth One, pull down the Edit menu and open the Preferences dia-
log.

2. In this dialog, pull down the Sync Input menu and select ”¥ IAC Bus #1”.
Now, ReBirth One will receive MIDI Clock from Cubase, via OMS.

ReBirth One set up to receive MIDI Clock from the OMS IAC port.

3. Close the dialog.

4. Activate Sync to MIDI Clock from the Options menu in ReBirth One.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

5. Activate playback in Cubase VST, and ReBirth One will start playing ‘in
sync’ with it.

● Note that this makes the two programs play at the same time, that is, they
both “run” when you “hit play”. It does not means they can both play audio at
the same time. See page 111 for details about “sharing audio”.

- 104 -
Cubase for Windows

● Before you create any serious projects that require sync, try out the features
described below and check out “Synchronization Considerations” on page
108.

ReBirth One synchronizes to Cubase for Windows via a utility called ÓHubiÕs
Loopback DeviceÓ. This utility is included on the ReBirth One CD-ROM, in the
folder ÒHldÓ (HubiÕs Loopback Device).

Installing
1. Insert the ReBirth One CD-ROM into your computer.

2. Locate the folder “Hld” on the CD-ROM.

3. Find the file “How to Install HLD” in this folder, and double click on it.

4. Follow the instructions on screen.

- 105 -
 Setting Up Cubase
1. In Cubase, pull down the Options menu, and make sure “Play in Back-
ground” is activated.
If it isn’t, and you want it to always be, you should consider modifying your
DEF.ALL song, see the section about Customizing in the Cubase manual, for
details.

2. Open the Synchronization dialog in Cubase.

3. In the Sync Out section, locate the MIDI Clock pop-up. Pull down the
menu and select the desired output (”LB1” if you haven’t renamed the
MIDI “ports” in Hubi’s Loopback Device).
This routes the MIDI Clock Signals out to Hubi’s Loopback Device, from
where ReBirth One can receive them.

Cubase set up to transmit MIDI Clock to the “LB1” port.

- 106 -
 Setting Up ReBirth One
1. In ReBirth One, pull down the Edit menu and open the Preferences dia-
log.

2. In this dialog, pull down the Input menu in the MIDI Clock Sync section,
and select the corresponding Input (possibly “LB1”).
Now, ReBirth One will receive MIDI Clock signals from Cubase, via Hubi’s
Loopback Device.

ReBirth One set up to receive MIDI Clock from the “LB1” port.

3. Close the dialog.

4. Activate Sync to MIDI Clock from the Options menu in ReBirth One.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

5. Activate playback in Cubase, and ReBirth One will start playing playing
‘in sync’ with it.

● Note that this makes the two programs play at the same time, that is, they
both “run” when you “hit play”. It does not means they can both play audio at
the same time. See page 111 for details about “sharing audio”.

- 107 -
Synchronization Considerations

Adjusting the Sync Delay

Sync Delay (Mac version)

Because of the latency problem described on page 174, you might need to adjust
ReBirth OneÕs playback in relation to Cubase, so that they are in perfect time. The
tempo will not differ between the two, but ReBirth One might play ahead or behind
Cubase.
You might need to adjust this. However, this is something you only need to do once.
The setting is stored with your other preferences, which means thereÕs no need to
adjust this setting again. Proceed as follows:
1. Set up Cubase so that it generates a solid click, on for example quarter or
eighth notes, preferably with a special sound on the downbeat.
This click can either come from the internal metronome or from a MIDI
source. If you use a MIDI source, make sure you pick one that has solid MIDI
timing.

2. Set up ReBirth One so that it plays a rhythm similar to the other applica-
tion.
You might for example use the CB and CL sounds.

3. Start the two applications in sync.

4. Make sure you hear both applications at approximately equal level.

5. Open the Preferences dialog in ReBirth One.

- 108 -
6. Trim the “Adjust Sync” setting until the “clicks” from both sources sound
at exactly the same time.

7. Close the Preferences dialog in ReBirth One.

About the beginning of the Song

Due to the latency phenomenon, described on page 174, ReBirth One needs some
time to correct itÕs playback speed when it first receives the Start command. This
can be noted as a small glitch in the audio playback, when the program starts. If this
is a problem, you need to insert a couple of empty measures at the beginning of the
Song. Proceed as follows:
1. Make sure you are in Song mode, in ReBirth One.

2. Set up the Loop so that it starts at Bar 1 and is two Bars long.

3. Move to Bar 1, the beginning of the Song.

4. Select Copy from the Edit menu.

5. Select Paste from the Edit menu.

You now have two more measures at the beginning of the Song. Let’s make
them silent:

6. Activate recording, but not playback.

7. Deactivate all three sections, in the Pattern selector.

8. Move to Bar 2.

9. Deactivate Recording.

- 109 -
10.In Cubase, set up the Left Locator at the beginning of the Song and the
Right Locator at bar 3 (3.1.1.0).

11.Make sure that all Tracks that you use in the Song are unmuted.

12.Pull down the Structure menu and select “Insert At Locators”.

You now have two empty bars at the beginning, both in Cubase and in Re-
Birth One.

About tempo readouts

If the other program/device also has a tempo display, you might note slight differ-
ences in tempo readout between ReBirth One and the other device/application. This
is normal, especially if the other is an external device, and does not mean the two
application do not sync properly. MIDI Clock does not contain numeric information
about which tempo to play in. Rather, the tempo has to be calculated by the receiv-
ing device, by measuring the pace the clock signals are coming in at. Just like with
two watches, there will always be minor differences in their ÒspeedÓ.

About Tempo Changes

Again, due to the latency phenomenon, ReBirth One needs a bit of time to adjust to
changes in tempo. If there are abrupt changes in the MIDI Clock, due to drastic
tempo changes on the master, you will note that ReBirth One will require up to one
measure to adjust itself to the change.
To minimize this problem, try to use gradual tempo changes rather than immediate
ones.
Also note that drastic tempo changes might introduce slight ÒclicksÓ in the output
from the Delay unit in ReBirth One.

- 110 -
Audio Sharing
When you run ReBirth One together with Cubase, you might run into a situation
where you have two applications playing audio at the same time. To make this work,
read the following section.
If you only use Cubase for MIDI (if you never use audio Tracks) this situation
might not be a problem for you, but you still need to make sure ReBirth One has ac-
cess to the audio on the computer, see below.

Cubase VST for Macintosh

If you only use Cubase for MIDI

If you never use any audio Tracks in Cubase VST, you only need to make sure that
VST does not ÒstealÓ the audio on your computer.
1. Launch Cubase VST.

2. Select “AudioSetupSystem” from the Options menu.

3. Make sure the program uses the “Apple Sound Manager” ASIO driver.

4. Close the dialog.

If you run Cubase with the Sound Manager

If you use the internal audio on your computer, Cubase VST gives you the option of
accessing these via the ÒApple DAVÓ and via the Sound Manager. While the "Apple
DAV" method is more efÞcient for VST, it is not available on all computers. The
"Apple DAV" method is also a 'single user' system; once VST is using the audio on
the computer ReBirth One can't access it too.

- 111 -
 To run the two programs at the same time and have both playing audio, you must
select the Apple Sound Manager driver in VST, as described above.

If you run Cubase with an audio card for which there is an ASIO driver
Cubase VST can also access a number of audio cards ÒdirectlyÓ (as opposed to via
the Sound Manager) via ASIO drivers. Examples of such cards are the Digidesign
Audiomedia III and Korg 1212.
If you use such a card, you can still play audio from both applications at the same
time. ReBirth One uses the Sound Manager (the audio appears on the standard
Macintosh outputs) and the other application uses the sound card.
1. Make sure that no Sound Manager driver is installed for the card.
Such a driver might have been included with the card and is in that case lo-
cated in your System Folder. Please remove it and restart your computer.

2. Set up VST to access the card via an ASIO driver.

3. Launch ReBirth.
It will use the internal audio outputs on your Macintosh.

- 112 -
Cubase for Windows

If you only use Cubase for MIDI

If you never use any audio Tracks in Cubase, you only need to make sure that Cu-
base does not ÒstealÓ the audio on your computer.
• To ensure ReBirth has access to the audio on your computer, always
launch ReBirth first.

If you have two audio cards and want to use audio in both programs
If you have two audio cards, Cubase can use one and ReBirth One one:
1. In Cubase, open the Audio Setup System dialog and select the other au-
dio card from the Record and Playback menus.

2. Launch ReBirth One, open the Preferences dialog and select one of the
audio cards from the Audio Card driver menu.

If you only have one audio card and want to use audio in both programs
Well, then youÕre in a bit of a Þx, because the current version of Cubase (as of this
writing) will ÒgrabÓ the audio card it is using, which means ReBirth One will stop
sounding.
There are exceptions to this rule, however. Some advanced audio cards, such as the
Terratec EWS-64, can ÒfoolÓ the computer into thinking there is more than one
card installed. If you have such a card, follow the instructions for use of two cards,
above.
YouÕre only other solution in this case is to use Export Audio, as described on page
128 and page 136.

- 113 -
11
Using ReBirth One with Other
Equipment and Programs 11

- 114 -
Synchronization

● Synchronization on the Macintosh computer requires you to have OMS in-

stalled.

What is synchronization and MIDI Clock?

Synchronization, in this context, is when you make ReBirth One play at the same
tempo as another device; where both start, stop and can locate to certain positions,
together. This is done by transmitting MIDI Clock signals between ReBirth One and
the other device. MIDI Clock is a very fast ÒmetronomeÓ that can be transmitted in
a MIDI Cable. As part of the MIDI Clock concept there are also instructions for
Start, Stop and locating to sixteenth note positions.
You can set up synchronization between ReBirth One and hardware devices (tape
recorders, drum machines, stand alone sequencers, workstations etc) and other com-
puter programs running on the same or another computer.

Master/Slave
In a synchronized system there is always one master and one or more slaves. In our
case, the master is the one that controls the tempo. In other words, it is only the tem-
po setting on the master device that is of any relevance, since the slaves slavishly
follow the master's tempo.
• ReBirth One always acts as a slave. That is it receives MIDI Clocks, it
never transmits them.

- 115 -
 ● Before you create any serious projects that require sync, try out the features
described below and check out “Synchronization Considerations” on page
122.

Slaving ReBirth One to an external Device

This example assumes you have an external device, such as a drum machine, hard-
ware sequencer, another computer, tape recorder etc, that transmits MIDI Clocks
that you want to synchronize ReBirth One to.
1. Connect a MIDI Cable from the MIDI Out on the other device to a MIDI
In on the computer running ReBirth One.

2. Set up the other device so that it transmits MIDI Clock signals to the
MIDI Out you just connected the computer running ReBirth One.

3. In ReBirth One, pull down the Edit menu and open the Preferences dia-
log.

- 116 -
4. In this dialog, pull down the Input menu in the MIDI Clock Sync section
and select the MIDI Input to which you connected the MIDI cable from
the other device.
On the Macintosh, if you do not understand which Input this is, or if that
MIDI input doesn’t appear in the list, consult your OMS documentation for
information on MIDI interfaces, MIDI ports and naming. Under Windows, if
you can’t find the MIDI Input you want to use, there is either something
wrong with the installation of the interface, or some other program is holding
on to it. Consult the documentation for the MIDI interface, the other program
and Windows, for more information.

ReBirth One Windows set up to sync to MIDI Clock coming in via the MIDI interface on a
Sound Blaster card.

5. Close the dialog.

6. Activate Sync to MIDI Clock from the Options menu in ReBirth One.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

7. Activate playback on the other device, and ReBirth One will start playing
‘in sync’ with it.

- 117 -
Macintosh platform – slaving ReBirth One to another program on the
same computer, using OMS
ReBirth One supports the OMS IAC (Inter Application Communication) system,
which allows you to run MIDI Clock signals from another program to ReBirth One.
1. Set up the other program, so that it transmits MIDI Clock to one of its
dedicated “program ports” or to the OMS IAC port.
It doesn’t matter which you choose. If you feel unsure about which port to
use, select IAC. If you want use a “program port” make sure you launch the
other application before you launch ReBirth One.

2. In ReBirth One, pull down the Edit menu and open the Preferences dia-
log.

3. In this dialog, pull down the Input menu in the MIDI Clock Sync section
and select the MIDI Port you selected for Output in the other applica-
tion.

ReBirth One Mac set up to sync to MIDI Clock coming in via an OMS IAC port.

4. Close the dialog.

5. Activate Sync to MIDI Clock from the Options menu in ReBirth One.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

- 118 -
 6. Activate playback in the other program, and ReBirth One will start play-
ing ‘in sync’ with it.

Macintosh platform – slaving ReBirth One to a non-OMS program on

the same computer
If the MIDI program you use does not support the professional standard for MIDI
on Macintosh computers, OMS, you can still set up synchronization, but this re-
quires two MIDI interfaces, each connected to one of the serial ports on your com-
puter.
1. Set up OMS so that it uses only one of the MIDI interfaces installed.

2. Set up the other application so that it uses the other MIDI interface.

3. Connect a MIDI cable from an output on the “other application” inter-

face to an input on the OMS-controlled interface.

4. Set up the other application so that it transmits MIDI Clock signals to the
output you connected the cable to.

5. In ReBirth One, pull down the Edit menu and open the Preferences dia-
log.

6. In this dialog, pull down the Input menu in the MIDI Clock Sync section
and select the MIDI Port you connected the cable to.
If you do not understand which Input this is, or if that MIDI input doesn’t ap-
pear in the list, consult your OMS documentation for information on MIDI in-
terfaces, MIDI ports and naming.

7. Close the dialog.

- 119 -
 8. Activate Sync to MIDI Clock from the Options menu in ReBirth One.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

9. Activate playback in the other program, and ReBirth One will start play-
ing ‘in sync’ with it.

Windows platform – slaving ReBirth One to an another program on the

same computer
ReBirth One synchronizes to other programs on the same computer via a utility
called ÓHubiÕs Loopback DeviceÓ. This utility is included on the ReBirth One CD-
ROM, in the folder ÒHldÓ (HubiÕs Loopback Device).

Installing
1. Insert the ReBirth One CD-ROM into your computer.

2. Locate the folder “Hld” on the CD-ROM.

3. Find the file “How to Install HLD” in this folder, and double click on it.

4. Follow the instructions on screen.

Setting up the applications

With the ÓHubiÕs Loopback DeviceÓ utility installed, you will Þnd a number of new
MIDI Inputs and Outputs in your MIDI applications. These are Òinvisible MIDI ca-
blesÓ that run between the MIDI programs on your computer.

- 120 -
1. In the other application, set things up so that it transmits MIDI Clock sig-
nals to the desired output (”LB1” if you haven’t renamed the MIDI
“ports” in Hubi’s Loopback Device).

2. In ReBirth One, pull down the Edit menu and open the Preferences dia-
log.

3. In this dialog, pull down the Input menu in the MIDI Clock Sync section,
and select the corresponding Input (possibly “LB1”).
Now, ReBirth One will receive MIDI Clock signals from the other application,
via Hubi’s Loopback Device.

ReBirth One set up to sync to MIDI Clock coming in via “LB1”.

4. Close the dialog.

5. Activate Sync to MIDI Clock from the Options menu in ReBirth One.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

6. Activate playback in the other application, and ReBirth One will start
playing ‘in sync’ with it.

- 121 -
 ● Note that this makes the two programs play at the same time, that is, they
both “run” when you “hit play”. It does not means they can both play audio at
the same time. See page 126 for details about “sharing audio”.

Synchronization Considerations

Adjusting the Sync Delay

Sync Delay (Mac version)

Because of the latency problem described on page 174, you might need to adjust
ReBirth OneÕs playback in relation to the sync master, so that they are in perfect
time. The tempo will not differ between the two, but ReBirth One might play ahead
or behind the other application. You might need to adjust this. However, this is
something you only need to do once. The setting is stored with your other prefer-
ences, so you donÕt need to adjust it again.
Proceed as follows:
1. Set up the other application so that it generates a solid click, on for ex-
ample quarter or eighth notes, preferably with a special sound on the
downbeat.
This click can either come from an internal metronome or from a MIDI
source. If you use a MIDI source, make sure you pick one that has solid MIDI
timing.

2. Set up ReBirth One so that it plays a similar rhythm as the other applica-
tion.
You might for example use the CB and CL sounds.
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3. Start the two applications in sync.

4. Make sure you hear both applications at approximately equal level.

5. Open the Preferences dialog in ReBirth One.

6. Trim the “Adjust Sync” setting until the “clicks” from the both sources
sound at exactly the same time.

7. Close the Preferences dialog in ReBirth One.

About the beginning of the Song

Due to the latency phenomenon, described on page 174, ReBirth One needs some
time to correct itÕs playback speed when it first receives the Start command. This
can be noted as a small glitch in the audio playback, when the program starts. If this
is a problem, you need to insert a couple of empty measures at the beginning of the
Song. Proceed as follows:
1. Make sure you are in Song mode, in ReBirth One.

2. Set up the Loop so that it starts at Bar 1 and is two Bars long.

3. Move to Bar 1, the beginning of the Song.

4. Select Copy from the Edit menu.

5. Select Paste from the Edit menu.

You now have two more measures at the beginning of the Song. Let’s make
them silent:

6. Activate recording, but not playback.

- 123 -
7. Deactivate all three sections, in the Pattern selector.

8. Move to Bar 2.

9. Deactivate Recording.

10.Set up the other device/application, so that it also plays two empty bars
at the beginning.

About MIDI Song Position Pointers

MIDI Clock actually consists of five type of messages: The actual clock (the met-
ronome that establishes the tempo), Start, Stop and Continue commands and Song
Position Pointers. This last type of message contains information about positions,
so that a program for example ÒknowsÓ where in a Song to start playback from.
Normally, this ensures that you can locate to any position and activate playback
from there. In older devices, Song Position Pointers might not be implemented. This
means that you will be able to synchronize properly only if you start both devices
from the absolute beginning of the song.

About Tempo readouts

If the other program/device also has a tempo display, you might note slight differ-
ences in tempo readout between ReBirth One and the other device/application. This
is normal, especially if the other is an external device, and does not mean the two
do not sync properly. MIDI Clock does not contain numeric information about
which tempo to play in. Rather, the tempo has to be calculated by the receiving de-
vice, by measuring the pace the clock signals are coming in at. Just like with two
watches, there will always be minor differences in their ÒspeedÓ.

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About Tempo Changes
Again, due to the latency phenomenon, ReBirth One needs a bit of time to adjust to
changes in tempo. If there are abrupt changes in the MIDI Clock, due to drastic
tempo changes on the master, you will note that ReBirth One will require up to one
measure to adjust itself to the change.
To minimize this problem, try to use gradual tempo changes rather than immediate
ones.
Also note that drastic tempo changes might introduce slight ÒclicksÓ in the output
from the Delay unit in ReBirth One.

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Running multiple audio applications on one computer
You might want to run ReBirth One together with another audio application, at the
same time. Since ReBirth One synchronizes, you might for example want to run it
Òin tandemÓ with an audio sequencer. Exactly how to do this depends on your com-
puter configuration and the platform you are on.

Windows
Under Windows, two applications normally do not share an audio card. If you
launch two applications, one of them will ÒgrabÓ the audio card, which means the
other will stop sounding.

How can I make ReBirth One and another application play audio at the
same time?
As far as we know, there are only three ways:
• Use two audio cards. You can then assign one to ReBirth One (see the in-
stallation instructions) and one to the other audio application.
• A few audio cards can mix the audio from several applications. An exam-
ple of such an audio card is Terratec EWS-64. This card “fools” Windows
into thinking there is more than one card installed into the system. If you
have such a card, you can set up both applications to use it.
• If all applications access the audio card via DirectX version 3 or later
(see page 176), they can all use it at the same time.

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 A note about background playback
If you access the audio card via DirectX version 2, ReBirth One will not be able to
play in the background. That is, as soon as you switch in another application, Re-
Birth One will stop sounding.

Macintosh
ReBirth One plays audio via the standard audio procedures on the Macintosh, called
the Sound Manager. The Sound Manager has the ability to mix audio from several
applications. This means that if you run ReBirth One together with another standard
audio application, the audio from both will automatically be mixed and will appear
at the stereo outputs on the computer.
If the other application uses special audio routines, that ÒgrabÓ the sound on the
computer, ReBirth One will not be able to play. An example of such an application
is Steinberg Cubase VST, when set to the ÒApple DAVÓ audio output alternative
(Cubase does this for good reason, to maximize the resources of the computer when
playing back audio from hard disk).
If you need to have ReBirth One and Cubase VST playing audio at the same time,
you must switch Cubase VST to its Sound Manager compatible audio output alter-
native.
Some audio applications that use audio cards installed into the computer, access
these cards directly (as opposed to using the Sound Manager). An example of such
a setup would be Cubase VST with an audio card accessed via an ASIO driver. If
you run such an application, you can still play audio from both applications at the
same time. ReBirth One uses the Sound Manager (the audio appears on the standard
Macintosh outputs) and the other application uses the sound card.

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Using “Export Loop as AIFF/Wave” to overcome the “one audio card
only” problem.
If you only have one audio card, or for other reasons can not get ReBirth One to play
at the same time as another audio program, there are still ways to integrate the audio
from the two applications:
1. Create a Song in ReBirth One.
You can do this either without running any other application at the same time,
or while being synchronized with another application, only utilizing its MIDI
capabilities, so that ReBirth One has access to the audio on your computer.

2. Export the ReBirth One Song as an audio file.

3. Quit ReBirth One.

4. Import the audio file into the other application, as a stereo audio track.

5. Continue working on the Song in the other program. If you need to make
changes in the ReBirth One material, either use the editing capabilities of
the other program, or go back into ReBirth One, make the necessary
change, export the file and re-import into the other program, replacing
the previous ReBirth One track.

About differences in tempo between applications

Computer applications handle tempo in different ways. Some drive their tempo
from the clocking of the digital audio (ReBirth One uses this method) while other
programs use other types of timing methods. This means that when you set two ap-
plication to 120 BPM (without any synchronization between them) and start them
at the same time, they might tick away at slightly different speeds, even if they run
on the same computer.

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For this reason, an audio Þle generated in ReBirth One at a certain tempo, might not
play back in perfect time with the material in the other program, even if they play at
the same tempo.
To get around this, use the other applicationÕs tempo adjustment methods to match
the material already present in the other program to the audio Þle.

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12
File Handling 12

- 130 -
New Songs – Changing the Default Settings
To create a new ÒblankÓ Song, select New from the File menu.
New songs can either use default settings for Patterns and controls, or you can cus-
tomize the settings so that New Songs appear just as you want them.

Customizing
1. Set up a Song so that it is exactly as you want New Songs to be.

2. Open the Preferences dialog.

3. Click the “Use Current Song” button at the bottom of the dialog.

4. Close the dialog.

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Saving Songs
When you save your Song, using the Save and Save As commands, you save all the
Patterns, all settings in Pattern mode and the entire Song, all in one file.
The file dialog used for saving is the standard Windows/Macintosh one. For details
about saving, hard disks, floppy and other media, see the manual that came with
your computer and storage devices.

The Song Information feature

If you like you can enter information about your Song. This is useful for example if
you intend to distribute your Þles via Internet and want to make people aware of
who the creator is.

Filling in the Dialog

1. Select Song Information from the File menu.

2. Fill in the three fields:

• Text in Window Title will always appear in the Song window title.
• “More Information” and “Creator’s web page” will appear in the Informa-
tion dialog and in the “splash screen” that appears when you load the
Song (if Show Information...” is activated, see below”).

3. If you like, activate “Show Information on Song Open”.

This ensures everybody will see the information when they load the Song.

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 Linking to the Song creator’s web page
If the Song creator has entered a URL to a web page, you can link directly there
from ReBirth.
1. Open the Song Information dialog.

2. Click on the Browse button.

On the PC, the browser you have installed launches directly. On the Macin-
tosh you have to select your preferred browser in a dialog. In either case, the
browser takes you to the specified web page.

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Opening Songs
Opening is done using a regular Open dialog.
You can have as many Song documents open as you like, or as memory permits.
However, only one of them can play back at a time.

Macintosh memory note

If you canÕt open as many Songs as youÕd like, this is probably because you havenÕt
assigned the program enough memory. Proceed as follows:
1. Quit ReBirth One.

2. Locate the ReBirth One icon in the Finder and select it.

3. Select Get Info from the File menu.

4. In the dialog that appears, assign the program more memory.

For exact details on this dialog, see your Macintosh manuals. Exactly how
much memory you can assign to the program depends on the amount of
memory installed in your Macintosh.

● Avoid assigning the program so much memory that none is left for the system
once ReBirth One and other programs are running. The Sound Manager (the
routines in the Macintosh that handle audio) require that some system mem-
ory is left unused after all applications have been launched.

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Copying and Moving Patterns between Songs
Since there is no Pattern file format, only the Song format, it might not be obvious
how to Copy and move Patterns between Songs. This is done using Cut, Copy and
Paste, as described on page 60.

Moving ReBirth One Song files between Macintosh and

PC Computers
Files are identiÞed differently on the Mac and on the PC. You can move Þles be-
tween Mac and PC computers via ßoppy disks, networks, via email etc. However,
be able to use ReBirth One Song Þles on another platform than they were created
on, you need take special precautions.
• If you have created a Song on the Macintosh and want to use it on a PC
computer, make sure the file name ends with the suffix “.rbs”.
It is this suffix that makes Windows aware that the file is a ReBirth Song file.

• If you have created a Song on the PC and want to use it on a Macintosh

computer, you must make sure the Creator is “ReBi” and that the File
Type is “TSSQ”.
There are a number of Macintosh utilities that allow you to change the Crea-
tor and File Type, the most well known is probably Apple’s own ResEdit appli-
cation. In addition, the Control Panel “PC Exchange” allows you to set things
up so that files imported via floppy disks are converted automatically. See
your Macintosh documentation for more details.

- 135 -
Exporting Songs and Patterns as Audio (AIFF/Wave)
Files
You can save your entire Song, or parts of it, as an audio file. This file can be in
AIFF (Audio Interchange File Format Ð the standard audio file format on the Mac-
intosh) or Wave (ÒWAVÓ Ð the standard audio file format on the PC). Proceed as
follows:
1. Make sure you are in Song mode.

2. Set up the Loop so that it encompasses the part of the Song you want to
convert.
This can be a Loop of any Length, from a one bar Pattern to the whole Song.
If you want to export the whole Song, remember to include some extra bars at
the end, so that any repeats from the Delay section get included.

3. Select “Export Loop as Audio File” (PC) or “Export Loop as AIFF/Wave

file” (Mac) from the File menu.

4. Specify a name and location for your file.

On the PC platform, select a file format (AIFF or Wave), from the pop-up at
the bottom of the dialog.

5. Click Save.

● Audio files are relatively big! For example, a three minute Song will occupy
over 30 MBytes of hard disk space.

- 136 -
13
Reference 13

- 137 -
Transport Panel
Tempo controls Switches between Displays the Song Song Loop On/Off
and display Song and Pattern Position and
mode allows you to
move in steps of
one bar

Play Stop Moves the Song Define where the

Position ten bars Song Loop Starts
forward and Ends

Moves the Song Record - for recording

Position ten bars back Pattern changes and
controls in Song mode

Song Mode/Pattern Mode

This switch switches ReBirth One between its two major modes: Pattern mode and
Song mode. The two modes have major differences. Below we will list the proper-
ties for each one, in list form:

Pattern Mode
• Allows you to program the synths and rhythm sections.
• You can switch Patterns at any time.
• Allows you to manually set all knobs as you like them at any time.

- 138 -
 • The Fast Forward and Rewind controls are not used.
• Always loops the selected Patterns.
• The Record button isn’t used.

Song Mode
• Allows you to build a complete Song by recording Pattern changes and
knob movements.
• Requires recording to be activated to be able to use controls and select
Patterns.
• Introduces the loop feature which allows you to repeat any section of the
Song indefinitely.

Tempo
Here you can set the tempo for your Song in ÒbpmÓ (beats per minute). The range
is 20 to 500 bpm (80 to 160 is a ÒnormalÓ range of tempos).
When ReBirth One is synchronized to another device, this setting is of no impor-
tance, since ReBirth One will play in the tempo of the other device.

Bar Display
This shows the current position in bars (measures). Only relevant in Song mode. If
you click the arrow, the Song Position is moved one measure back/forward. If you
keep the mouse button down, it scrolls continuously.

- 139 -
Play
This activates playback. If you are in Song mode, this should be thought of as Òcon-
tinue playÓ, that is it will start playback from the current position.

Stop
When you click this, during playback, the program stops. If the program is already
stopped, the Song position moves to the Loop Start or the beginning of the Song,
depending on whether Loop is activated or not.

Rewind
Every click on this button moves the Song position ten bars back. If you keep the
mouse button pressed, it rewinds continuously.

Fast Forward
Every click on this button moves the Song position ten bars forward. If you keep the
mouse button pressed, it fast forwards continuously.

Record
This button is used for recording Pattern changes and knob movements in Song
mode. It has no function in Pattern mode.

- 140 -
Loop On/Off
When this is activated, the section specified by the Start and Length settings is
Looped.

Loop Start and Length

The Loop start is the bar where you want looping to start.
The Length setting is the number of bars you want looped.

- 141 -
Pattern section
Used to deactivate the Selects between the eight
section. Essentially the Patterns in a Bank
same as an empty
Pattern

Allows you to set the

Length of the Pattern, in
Selects between
16th note steps
the four Banks of
eight Patterns

Bank and Pattern selectors

These are used to select between the 32 Patterns available for each section in each
Song.
• To select another Pattern, in the same Bank, simply click one of the Pat-
tern buttons.
• To switch to another Pattern in another Bank, first select the Bank, then
the Pattern.
No Pattern gets selected until you click one of the Pattern buttons 1 to 8.
You can also switch Patterns from the computer keyboard, see page 23 and page
195.

- 142 -
Step display and setting
This is used to set the length of the Pattern, in steps of 16th notes. This can be done
at any time and affects playback immediately.
You can even have different Pattern lengths for different sections. Each one loops
independently. Different Patterns can have different lengths.

- 143 -
Rhythm section
The grey knobs are used
The white knobs set to adjust the various
the levels of the sound parameters
individual sounds

The step buttons Click on the light This control is used to

are used to instrument legends to select select instruments
program the an instrument
selected
instrument into the
Pattern

Sound selector
This control is used to select between the main sounds.
For more info about selecting sounds, see page 32.
For information about the Òshared instrumentsÓ, see page 36.

- 144 -
Sounds
Legend Name Comment
AC Accent This is not a sound, but rather a way to control dynam-
ics. The steps where Accent is activated will be louder.
Exactly how much louder is determined by the Accent
Level control. This control has equal effect on all sounds.
BD Bass Drum Has Tone and Decay controls.
SD Snare Drum Has Tune and FX controls.
LT Low Tom Has a tune control. “Shared” with Low Conga.
MT Middle Tom Has a tune control. “Shared” with Middle Conga.
HT High Tom Has a tune control. “Shared” with High Conga.
LC Low Conga Has a tune control. “Shared” with Low Tom.
MC Middle Conga Has a tune control. “Shared” with Middle Tom.
HC High Conga Has a tune control. “Shared” with High Tom.
RS Rim Shot “Shared” with Claves.
CL Claves “Shared” with Rim Shot.
CP (Hand) Claps “Shared” with Maracas.
MA Maracas “Shared” with Claps.
CB Cowbell No comment...
CY Cymbal Has a Tone and Decay Control.
OH Open Hi-hat Has a Decay Control. Is cut off by the Closed Hi-hat.
CH Closed Hi-hat Cuts off the Open Hi-hat. If you have both open and
closed Hi-hat on one step, you will only hear the Closed
Hi-hat.

- 145 -
Sound switches – About the “shared instruments”
As stated in the table above, some instrument ÓslotsÓ can only play one of two
sounds. In these cases, thereÕs a small switch that allows you to select which sound
will be played by this instrument ÒslotÓ. You can flick the switch any time. What-
ever is programmed for this Òinstrument slotÓ will be played by the sound selected
at that time.

Tone
This knob adjusts the ÒcolorÓ of the sound. Exactly in which way depends on the
sound, but the higher the setting, the ÒbrighterÓ the sound.

Decay
This adjusts the length of the sound. The higher the setting, the longer the sound.

Tune
This adjusts the pitch of the sound. On the Snare Drum it only affects the ÒtoneÓ part
of the sound, not the ÒsnareÓ part.

FX
This is only available for the Snare Drum. It is actually a level control for the
ÒsnareÓ (noise) part of the sound. The higher the setting, the more of the ÒsnareÓ you
will hear.

- 146 -
Synth section
Selects between two This shows you which
waveforms, Square These controls are used step in the Pattern you
and Sawtooth to adjust the sound are programming

Pitch Mode Click these buttons to set Various buttons

Clears the
On/Off the pitch for the step for programming
Pattern
a step (see
below)

Pitch Mode
• When this is activated, the sequencer will automatically advance to the
next step as soon as you select a pitch, using the Pitch buttons.
• When this is deactivated, the sequencer never advances automatically to
the next step.
• If you deactivate and then immediately activate Pitch mode, you return
to the first step in the Pattern.

- 147 -
Clear
This Clears the Pattern completely. This means all steps are set as follows:

Function Setting
Pitch Low C
Note/Pause Pause (no sound!)
Down Off
Up Off
Accent Off
Slide Off

Pitch buttons
These are used to specify a Pitch for the selected step.

Down
This transposes the pitch of the selected step down, one octave.

Up
This transposes the pitch of the selected step up, one octave.
You can activate both Up and Down at the same time, if you wish. However, this is
the same as activating none of them.

- 148 -
Accent (button)
This activates Accent for the selected step. For more information on what effect Ac-
cent has, see the Accent knob, below.

Slide
When this is activated, the selected step will be tied to the next (no ÒretriggeringÓ)
and the pitch will change continuously between this stepÕs pitch and the nextÕs. For
a more thorough explanation of how Slide works, see page 53.

Note/Pause button and indicators

This is used to specify if the selected step will sound or not.

Back
This takes you to the previous step in the Pattern. When you are at the first step, this
takes you to the last step in the Pattern.

Step
This takes you to the next step in the Pattern. When you are at the last step, this takes
you to the first step in the Pattern.

- 149 -
Step Display
This indicates which step you are currently at, when entering notes. This changes
when you press Next or Back or when you specify pitches in Pitch mode. It does not
move on playback.

Waveform
This allows you to select between two waveforms for the synth oscillator:

Symbol: Name: Description:

Sawtooth This is a full and rich waveform where all harmonics are in-
cluded.
Square This waveform only contains odd harmonics, which gives
the sound a more “hollow” quality.

Tune
This allows you to set the tuning of the synthesizer. The range is two octaves in
steps of one semitone.

Cutoff
This sets the basic cutoff frequency for the filter. The higher this setting, the brighter
the sound. This is the basic setting filter setting. The final filter curve is determined
by other settings, like Env. Mod, Decay and Accent.
For a more thorough description of the filter section, see page 57.

- 150 -
Reso
This also determines the character of the sound. The technical explanation is that it
routes the output of the filter back into the input, in a ÒfeedbackÓ loop. This knob
determines the amount of feedback. The higher the sound, the more of the typical
hollow character you will get.

Env. Mod
This determines the amount of effect the Þlter envelope has on the Þlter setting.
• In its lowest position, the envelope has little effect on the sound.
• At higher values, the envelope makes the filter open further, that is the
sound will be brighter.

Decay
The higher this setting, the longer it will take for the notes to decay.

Accent (knob)
This determines the amount of change to those steps that have the Accent switch ac-
tivated.
• Steps with Accent will be perceived as shorter, louder and with a slightly
different tonal character than other steps, when this setting is increased.
• When this knob is all the way down, steps with Accent will only be
shorter.
For more information on the relationship between Accent and other parameters, see
page 58.
- 151 -
Mixers
Output meter
Mute/unmute. Not part
of the Song automation!
Distortion on/off

Pan Delay amount for

this section

Volume fader

On/off switch
This turns the output of the relevant section on/off.

Meter
This shows the output level from the section. Use this as a diagnostic tool if the level
from a section is very low or if you donÕt hear it at all. If this meter shows any indi-
cation at all, the section is playing.

- 152 -
Volume fader
This determines the level of the output from the relevant section. Use this to balance
the relative levels between the synths and the rhythm section.

● Please note that as you increase levels you might run into distortion. To com-
pensate for this, use the Master fader. See page 27 for more details about lev-
els and “clipping”.

Pan
This determines the sectionÕs position in the stereo image.
The range of the parameter is fully left (L), through center ("twelve o'clock") to
fully right (R).

Delay
This determines the amount of delay (echo) to be added to this section. The final
amount of delay is determined by a number of other settings in the actual Delay sec-
tion. See page 74 for details on how to use the delay.

Dist
This is a switch which routes the output of this section through the Distortion (Dist)
unit. For more information on how to use the Distortion effect, see page 72.

- 153 -
Dist (Distortion)
Distortion
on/off
Distortion
Amount

Distortion is an effect which makes the sound ÒdirtierÓ. One section at a time can be
routed to the Distortion effect, using the Dist switches in the mixers.
For more detailed information on how to use the Distortion effect, please see page
72.

On/off switch
This turns the Distortion effect on/off. When the Distortion is turned off, any sound
will pass through the effect without being distorted. This button is very similar to a
Bypass button on a regular effect unit.

Meter
This shows the input level to the dist. Use this as a diagnostic tool if you are unsure
if any signal appears at the input of the Dist section. If this meter shows any indica-
tion at all, some signal is coming in.

Amount
This determines the amount of distortion. The higher the setting, the dirtier the
sound.

- 154 -
Delay
Delay on/off
Sixteenth note/eighth
note triplet switch
Delay Length (sixteenths
or eighth note triplets)
Feedback (number
The panning of the of repeats)
output from the delay

Delay is an effect which adds repeats or echo to the sound.

This is a Òsend effectÓ, which means that any and all sections can be routed to this
effect, by variable amounts.
For more detailed information on how to use the Delay effect, please see page 74.

On/off switch
This turns the Delay effect on/off. When turned off, any sound will pass through the
effect without any delay added. This button is very similar to a Bypass button on a
regular effect unit.

Meter
This shows the input level to the Delay. Use this as a diagnostic tool if you are un-
sure if any signal appears at the input of the Delay section. If this meter shows any
indication at all, some signal is coming in.

- 155 -
Step and Straight/Triplet switch
These two controls determine the length of the Delay.
• If the Straight/Triplet switch is set to straight 16th notes, Steps is used to
set the length in 16th note steps.
• If the Straight/Triplet switch is set to triplets, Steps is used to set the
length in steps of 8th note triplets.

F.Back
To get more than one echo, you can route the output of the Delay unit, back to its
input. This is often referred to as Feedback. The F.Back knob on the ReBirth One
delay does exactly this.

● Please be careful when raising this knob to high values. At full value, the echo
repeats infinitely. While this can be used to good effect, it is something to be
aware of.

Pan
This determines the position of the delay output, in the stereo image.
The range of the parameter is fully left (L), through center ("twelve o'clock") to
fully right (R).

- 156 -
Master

The Master level and faders.

Meters
These show the Output level from the entire program. Adjust this with the fader, so
that the meters show as high levels as possible during loud passages, without ever
hitting the red top segment. For more information see page 27.

Fader
This is used to adjust the overall output level from the program. Use this together
with the meters to retain maximum level without clipping.

- 157 -
Menus and Dialogs

Apple menu (Mac only)

About ReBirth One...

This menu item opens up a dialog that informs you about the version of the program
and the people behind it.

File menu

New
This creates a new ReBirth One panel. Use this when you want to start on a Song
from scratch. The settings and Patterns in this window are determined by the Pref-
erence setting ÒPatterns and knob settings for new songsÓ, see page 131.

Open...
This menu item is used to Open saved Song documents. It opens up a regular file
dialog where you can locate a Song file on disk and open it.

Close
This menu item closes the currently active window. If it is a document window, and
you have made any changes since you saved it last (or not saved the document at
all) you will be asked whether you want to save those changes before closing the
window.

- 158 -
Save
This menu item allows you to save any changes you have made to the currently ac-
tive document (the one youÕre working on, or playing). If you have not yet saved
the document, selecting this is the same as selecting Save As, see below.

Save As...
This is used to save a document the first time, or to save an existing document under
a new name or at a new location. A regular file dialog allows you to specify a name
and location for the file.
Windows users might want to note that ReBirth One songs have the document ex-
tension Ò.rbsÓ.

Song Information
This allows you to enter some information about your Song. This is useful for ex-
ample if you intend to distribute your Þles via Internet and want to make people
aware of who the creator is.

Item: Description:
Text in Window Title This text always appear in the Song window title.
More Information This text will appear in the Information dialog and in the
“splash screen” that appears when you load the Song (if
Show Information...” is activated, see below”)
Creator’s Web Page Same as above.
Show information on If this is activated, “More Information” and “Creator’s Web
Song open Page” will appear in a window when the Song opens.
Browser When you click this, you will be taken to the web page
specified in the dialog.

- 159 -
Export Loop As AIFF/Wave File (Mac)/Export Loop As Audio File (PC)
This menu item allows you to export the current Song (or a section of it) as an audio
file. This file can later be played back from any program that can read audio files in
the specified format.
Only the area inside the Loop is saved. This allows you to specify any section of the
Song to be saved, down to a single measure.

Page Setup...
This standard Macintosh/Windows item opens up a dialog box that allows you to
make settings for the printer you plan to use. See the documentation that came with
your Macintosh/Windows computer and printer, for more details.

Quit
This will quit the program. If any documents have unsaved changes you will be
asked if you want to save those changes before quitting.

- 160 -
Edit menu (Pattern mode)
The contents of the Edit menu varies with the ÒmodeÓ of the program. Below fol-
lows the items available when you are in Pattern mode:

About the “focus”

All the Pattern operations below act on the Pattern that currently has the ÒfocusÓ.
This means the Pattern with the focus bar. See page 24 for details.

Undo
This is not used in ReBirth One.

Cut Pattern
This function is mainly used together with Paste to move Patterns between Pattern
locations.
It will copy the contents of the Pattern into the Clipboard, from where it can later be
Pasted in to another Pattern location. In addition the Pattern will be Cleared, see be-
low.

Copy Pattern
This function is used together with Paste to copy Patterns between Pattern locations.
It will copy the contents of the Pattern into the Clipboard, from where it can later be
Pasted in to another Pattern location.

Paste Pattern
This will paste the Pattern currently on the Clipboard, into the selected Pattern lo-
cation. The Pasted Pattern will replace whatever was previously at that location.

- 161 -
 Clear Pattern
This empties the selected Pattern.
For synth Patterns this means that all steps are set as follows:

Function Setting
Pitch Low C
Note/Pause Pause (no sound!)
Down Off
Up Off
Accent Off
Slide Off

Shift Pattern/Drum Left/Right

This shifts the contents of the Pattern one sixteenth note in either direction. For ex-
ample, if you shift right, what was on the first step will be on the second, what was
on the second will be on the third, and so on. In the same example, whatever was on
the last step will be on the first.
• When the focus is on a synth section, only Shift Pattern Left/Right is
available. This shifts the entire contents of the Pattern one step in the se-
lected direction.
• When the focus is on a rhythm section, you have the option of shifting
the whole Pattern or just the selected drum sound.

- 162 -
Random Pattern/Pitches/Accents etc./Drum
This creates random synth and drum Patterns. This can be used as an inspirational
tool (create a Pattern and modify the parts you donÕt like) or for completely com-
puter generated music.
The exact options available depends on the focus (synth section or rhythm section).
See page 64.

Alter Pattern/Pitches/Accents etc./Drum

This slightly alters existing synth and rhythm Patterns, using the already pro-
grammed material as a basis for a new Pattern. See page 65.

Transpose...

The Transpose dialog (Macintosh version).

This only applies to synth Patterns. It allows you to transpose the Pattern to another
key. See page 66.

- 163 -
Preferences...
This dialog contains a number of overall settings and options for the program:

The Windows Preferences dialog

- 164 -
The Mac Preferences dialog.

- 165 -
Control: Description:
Audio Card Driver (PC only) Use this to select one of the card drivers in
your system. See page 9 for more details
about the available options.
Playback Performance slider (PC This is used to set size of the buffers associ-
only) ated with audio playback. The smaller this
number, the faster ReBirth One will react to
changes on the front panel. On the other
hand, smaller settings require a faster audio
card driver and computer. Again see the on-
line help and page 176 for details.
Play Ahead (PC only) This indicates the size of the audio playback
buffer, as adjusted with the slider.
Underruns (PC only) This shows the number of instances that the
playback buffers have been “too small” with
the current setting. If you get underruns, you
need to raise the size of the buffer.
Multitasking friendly/Crackle safe This allows you to select between two
(Macintosh only) modes for creating audio on your computer.
See page 14 for details.
Buffer size (Macintosh only) This should be set to the lowest possible
value that provides glitch free audio play-
back.
MIDI Clock Sync Input This is used to select a MIDI Input for syn-
chronization, see page 102 and page 115.
MIDI Clock Sync Enable This is a double up of the setting “Sync to
MIDI Clock”, on the Options menu, See
page 102 and page 115.

- 166 -
 Control: Description:
Adjust Sync Setting This setting is used to trim the synchroniza-
tion, so that ReBirth One “locks in” with the
master. See page 108 and page 122.
Patterns and knob settings for new The two options here are used to set
Songs whether new Songs should have default Pat-
terns and knob settings or if they should “in-
herit“ Patterns and settings from the current
Song. This is used to “customize” the con-
tents of New Songs. See page 131.

Edit menu (Song mode)

The contents of the Edit menu varies with the ÒmodeÓ of the program. Below fol-
lows the items available when you are in Song mode:

Undo
This is not used in ReBirth One.

Cut Loop
This menu item removes measures from the Song and puts them in the Clipboard.
More specifically, Cut removes all measures inside the Loop. This can be used for
two purposes:
• When you want to make the Song shorter.
• Together with Paste, to move measures from one section of the Song to
another.

- 167 -
 Copy Loop
This menu item copies all the measures inside the Loop and puts them in the Clip-
board from where they can be pasted in.

Paste at Song Position

Adds the Cut/Copied measures to the Song, beginning at the Song Position. The
measures are inserted into the Song, so that is lengthened.
If you for example have Cut four bars, and use ÒPaste at Song PositionÓ, at Song
Position 13, you will get four new measures between measure 13 and 16. These
contain the pasted material. Whatever was at bar 13 before the operation, is now at
bar 17.

Paste Replace at Song Position

Just as Paste at Song Position, but when this option is selected, the Pasted material
overwrites the material currently in those measures.
Again, if you Cut four bars, and use ÒPaste Replace at Song PositionÓ, at Song Po-
sition 13, the contents of measures 13, 14, 15 and 16 will be replaced by the meas-
ures on the Clipboard.

Initialize Song from Pattern mode

This is used to initialize the song, to start over from scratch. It also allows you to
use the settings currently in Pattern mode as your initial settings for the Song you
are about to build.

● Please note that this command clears all the Pattern changes and knob re-
cordings currently in the Song!

- 168 -
When you use ÒInitialize Song from Pattern ModeÓ, all measures in the Song are
filled with the settings currently made in Pattern mode. That is, the three Patterns
selected in Pattern mode will be used, as well as all knob and other control settings.

Copy touched controls to Loop/Song

This menu item allows you to insert ÒstaticÓ settings for any control, for a number
of bars. For example, you might want to turn on the Delay and make sure that it is
turned on for the whole Song, or you might want to adjust some level control, for a
speciÞc number of bars.
A full explanation of this function can be found on page 92.

Preferences...
See page 164.

- 169 -
Options menu

Sync to MIDI Clock

When this is activated, ReBirth RB-338 will synchronize its playback to incoming
MIDI Clock.
When synchronized to MIDI Clock, the tempo is determined by the other device or
application, the tempo on the ReBirth One transport bar is of no relevance.
You do not need to activate Play in ReBirth One. As soon as it senses that the other
device/application starts, it will start automatically.

● When external sync is activated, you can not play back from the ReBirth One
transport panel.

To decide which MIDI source to synchronize to, open the Preferences dialog and
use the Sync Input setting.
For more information about external sync, see page 102 and page 115.

Program Synth from Keyboard

When this is activated, the computer keyboard is used to program the synthesizer
that currently has the focus (see page 24 for more info about focus). To learn how
to program the synthesizer from the keyboard, see page 50.

Select Patterns from Keyboard

When this is activated, the computer keyboard is used for selecting Patterns. For
more information see, see page 22 and page 195.

- 170 -
Contacts/Help menu

Help... (Windows only)

This menu item open up the Topic window for the Windows on-line help system.

About the Internet menu alternatives

Regardless of which of the two Internet options you select, you will be connected
to the Internet using your preferred browser (on the PC this happens directly, on the
Macintosh you have to select a browser in a dialog). The browser will then take you
to the page speciÞed in the dialog.

Go to Propellerhead´s Web Site...

This takes you to the Propellerhead Software web site, where you can check out
other Propellerhead products etc.

Go to Steinberg’s ReBirth One Site...

This takes you to the ofÞcial Steinberg ReBirth One site.
Go to Steinberg’s Service Site
Use this link if you need technical support.

Go to Steinberg’s Home Page...

This takes you to the main Steinberg web site.

About ReBirth One... (Windows only)

This menu item opens up a dialog that informs you about the version of the program
and the people behind it.
- 171 -
Appendix A
About Audio on Computers 14

- 172 -
General Information

Audio Quality
The general audio quality in a computer based synthesizer system depends on two
things:
• The quality of the software calculating the audio.
In our case, this is the ReBirth One DSP (Digital Signal Processing) code. And
what can we say? We have invested all our expertise and an enormous
amount of time to make ReBirth One sound as good as possible. All calcula-
tions are made at the highest possible resolution throughout the signal chain.
The 44.1kHz sampling frequency is maintained at all times. A number of dig-
ital audio techniques are implemented that reduce the risk of “aliasing”,
background noise, unwanted distortion and “zipper noise”. OK, we’ll say it
straight out: ReBirth One sounds awesome.

• The quality of the hardware playing back the sound.

In a PC this is the sound card. In the Mac it is the built in audio circuitry or
any audio card you have installed. Don’t be fooled by the “16 bit, 44.1kHz,
CD quality” tags. How good some audio hardware actually sounds depends
on a number of things, its frequency range and frequency response curve, the
signal to noise ratio, the distortion under various circumstances, etc. Further-
more, some designs are more prone to disturbance from the other electronics
in the computer, than other. Such disturbance might add hum or high pitched
noise to the signal.

- 173 -
 As you probably understand by now, this is a big subject and there’s no way
we can help you find the right solution in this manual. There are a number of
text books and magazines covering this subject and any music dealer special-
izing in computers will happily help you out. The only advice we can give
you is that if you are serious about sound, choose your audio hardware care-
fully!

● PC users, please read the paragraphs about DirectX on page 176, it might
have an impact on your choice of audio hardware.

About Latency
On any personal computer system, there is a delay between the moment you ÒaskÓ
the hardware to play a sound and when it actually does it. This delay is referred to
as the ÒlatencyÓ of the design. This imposes a problem for any system where you
want real time user input in to affect the sound.

What is acceptable?
As a comparison, consider a hardware synthesizer. Here, you normally wouldnÕt ac-
cept a latency (between key down and sound out) of more than 3 to 7 ms (millisec-
onds Ð thousands of a second), if the instrument is to be used ÒprofessionallyÓ.
On a regular PC or Mac, the latency is anywhere from 25 to 300ms! This is just an
effect of the fact that a computer was built for many purposes, not just playing back
audio. For multimedia and games, this is perfectly acceptable, but for playing a mu-
sical instrument it is not!
For this reason, you can not play the sounds in ReBirth One via MIDI. It would feel
just awful.

- 174 -
 ReBirth One’s built in sequencer is not affected by latency!
However, when the sound is played back via a built in sequencer, such as in ReBirth
One, the timing between notes is perfect! Once playback of a ReBirth One Pattern
or Song is up and running, latency isnÕt a consideration at all. The computer clocks
the audio between the steps and does this with perfect quartz accuracy! The timing
is immaculate!
Still, latency rears it ugly head in another part of the program:
• When you move controls on the front panel, the time it actually takes be-
fore these movements affect the sound depends on the latency.
• The timing accuracy of the meters on the front panel is determined by la-
tency.
For these two reasons, ReBirth One has a buffer size setting in the Preference dia-
log. This allows you to minimize the latency as much as possible. How much you
will be able to reduce the buffer sizes depends on your sound driver and your com-
puter. The faster it is, the smaller the buffers required.

Reducing latency
This said, there are general methods for reducing latency. The problem is that most
of them are based on non-standard solutions that require special hardware to be in-
stalled in your system. For a software developer they also impose problems, since
special routines have to be written for each hardware solution.
On the Macintosh, it is the Sound Manager routines (part of the Mac OS) and the
audio hardware in the computer that are responsible for the latency.
On the PC, it is the Windows routines and the audio card that introduce latencies.
However, you do have some control over this via the choice of using MME or Di-
rectX drivers for your audio card, see below.

- 175 -
PC Specific Information

About DirectX, MME and the Sound Buffer setting

There are two ways for Windows to access an audio card:

Via an MME (MultiMedia Extensions) driver

This system has been around since Windows 3.0, and it is this type of driver
that is normally installed in the Control Panel and via Plug’n’Play. Most regu-
lar sound playback (like when Windows goes “bing” on startup) happens via
MME.

• Practically all cards come with an MME driver. If you card appears in the
System part of the Control Panel, you have an MME driver installed.
• Using a card via an MME driver gives you relatively long latency (see page
174), especially under Windows 95/98.
• Only one program at a time can use a card accessed via MME.
• If you use MME, ReBirth One can play in the background.
• The latency is around 160 milliseconds when using MME under Windows
95/98.

Via a DirectX driver

DirectX is a later system developed by Microsoft to provide developers with
more efficient routines to access audio. You can obtain the latest driver ver-
sion from Microsoft. However, this does not mean you should always use Di-
rectX on your system, read on.

- 176 -
 • As of this writing, not all cards come with DirectX drivers. Drivers for
some cards are included with DirectX itself, see below for more info.
• Using a card via a DirectX driver gives you a pretty short latency, between
40 and 90 milliseconds under Windows 95/98 (see page 174).
• If you use DirectX 3 or later, all programs that access the card via DirectX
can use it at the same time and ReBirth One can play in the background.

Questions and answers about DirectX

● This text is by no means a complete guide to DirectX! For more information,

please point your web browser to: http://www.microsoft.com/DirectX/de-
fault.asp (the “DirectX Home” at Microsoft).

Should I access my card via DirectX or MME?

ReBirth One can use DirectX or MME, the program will work fine with either sys-
tem. However, if, and only if, you have a card for which there is a real DirectX driv-
er, and this driver is installed correctly, you should use DirectX. This will allows
you to reduce the latency (see page 174) which makes the program more responsive.
It will not make it sound better or give it any other additional features, but twisting
knobs and moving controls will Òfeel betterÓ.

How do I know if I have DirectX installed at all on my computer?

1. Launch ReBirth One.

2. Pull down the Edit menu and select Preferences.

- 177 -
3. Pull down the Audio Card Driver menu in the dialog that appears And se-
lect the last driver on the list.
Check the text just below the pop-up. If it says “Driver Type: Direct X”, then
you have DirectX installed.

How do I know if I have a real driver (as opposed to an “emulated driver”)

installed for my card?
Select the various alternatives on the Audio Card Driver menu described above, one
at a time. The text that appears below tells you if the driver is ÒemulatedÓ.

● If you have a DirectX driver that doesn’t say anything about emulated, use it!
On the other hand, if you only have emulated DirectX drivers, don’t use Di-
rectX. Instead use one of the MME alternatives on the menu!

How do I know which version of DirectX I have installed?

You canÕt, at least not really. However, you can tell if you have version 3 or later:
1. Start ReBirth One so that it’s playing.

2. Switch over to another program, for example the Desktop.

If ReBirth One keeps playing, you have DirectX 3 or later installed. If it stops you
have an earlier version.

- 178 -
 If I don’t have DirectX installed, should I install it?
There are two situations where we recommend you to install DirectX, if you donÕt
have it already:
• If the card vendor can supply you with a DirectX driver.
• If your card is one of the few for which a driver is included with Micro-
soft’s DirectX package.
The list of included drivers changes constantly. Again, please visit the “Di-
rectX Home” at the Microsoft web pages.

If I have DirectX version 2, should I install a later version?

When this was written, DirectX 7 was the latest version. The major difference be-
tween version 2 and later versions of DirectX is that later versions allow several ap-
plications to share one audio card, whereas version 2 does not.
If youÕre the type that always want to keep your computer system up to date with
the latest version of any software, install version 7 (or later). If youÕre the type that
rather stays with what you have, because you know and understand it, donÕt.

Where do I get hold of DirectX?

Please visit the ÒDirectX HomeÓ at the Microsoft web pages, http://www.micro-
soft.com/DirectX/default.asp.

Where do I get hold of a “certified” DirectX driver for my audio card?

There are two ways:
• A driver might be included with DirectX.
• Contact the card vendor or the dealer where you purchased the audio card
and ask for a DirectX driver.

- 179 -
Processor type and brand
There are several brands of PC microprocessors. For ReBirth One, an Intel proces-
sor is usually the best choice. Why?
This has to do with floating point calculations (counting with decimal number rather
than with non-decimal number, integers.). Using floating point arithmetics ensures
high audio quality. You can get high audio quality on an integer system too, but
floating point is effective and accurate when it is available.
Intel Pentium processors are much faster at floating point mathematics than for ex-
ample Cyrix 586 and 686 chips. This means that much more of your computerÕs
processing power will be used up when running ReBirth One on a Cyrix processor
than on an Intel. This has the following effects:
• On a Cyrix processor you need to use larger buffer sizes (the buffer size
is set in the Preferences dialog), to prevent the sound from “breaking
up”.
Larger buffers makes the program less responsive to control changes, see page
174.

• The updating of the graphics will be slower.

This can be noted when moving windows, pulling down menus etc.

• Other programs running at the same time, will not perform as fast as they
otherwise do.

● Provided the buffering is OK, the speed of the processor has no effect on the
sound quality. ReBirth One will sound just as good on an Intel processor as
on a Cyrix or other brand!

- 180 -
Macintosh Specific Information

What the Sound Manager does/is

The Sound Manager is a set of software routines in the Mac OS. These routines take
care of everything related to sound.
The Sound Manger is built into the system. If you have the latest version of Mac
OS, you probably donÕt need to install any special Sound Manager Þles. However,
if you run an older OS version, you can install the Sound Manager included with
ReBirth, or any even more recent version you can get hold of (for example from
AppleÕs Internet pages: www.apple.com).
One speciÞc character of the Sound Manager is its ability to mix audio from several
applications. This means that even when you run ReBirth, you can run other Sound
Manager compatible applications at the same time, and they will all sound.

Mac audio cards

Even though all Macintosh computers have built in sound, there are Mac audio
cards which add capabilities to your system. Such capabilities can be additional in-
and outputs, digital connections, better sound quality, etc.
• If you have an audio card for which there is a well written Sound Manager
driver (a piece of software that allows the Sound Manager to play via the
card) you can use the card with ReBirth One.
• If you use the card with some special software (such as a hard disk record-
ing system) that does not use the Sound Manager, you can still use that
software and run ReBirth at the same time. ReBirth will use the built in
sound connectors on your Macintosh and the other software will use the
card.

- 181 -
Installing a Macintosh audio card for use with ReBirth
If you have an audio card ßow which there is a Sound Manager driver, you can use
it with ReBirth One. Proceed as follows.
1. Quit ReBirth if it’s running.

2. Install the card as described by the manufacturer.

3. Install the Sound Manager driver for the card, as described by the manu-
facturer.

4. Open the Monitors and Sound control panel.

5. Click on the Sound button.

6. Select the card from the list of audio outputs.

7. Set up the levels and sound quality options as desired.

8. Switch to the warnings display and click on the sounds to check that they
now play back via the audio card.

9. Close the dialog.

10.Launch ReBirth.
It will now play back via the audio card rather then via the computer’s built in
audio outputs.

- 182 -
Appendix B
Troubleshooting 15

- 183 -
Introduction
The intent of this chapter is to help you get as effective technical support as possi-
ble. Please read through the following before you contact technical support.

Where can I get Support?

There are two ways to get support: via the Internet (see below) or by contacting
your local distributor. If in doubt, examine your package for details on how to con-
tact the distributor, or contact the dealer where you bought the program.

What you need to do before contacting Tech. Support

First of all, do you need help with some functionality in the program or do you sus-
pect something doesnÕt work as intended? Read through the following points:

If the program isn’t behaving as expected

Is the problem really with ReBirth One?

Technical support personnel can unfortunately not help you with general problems
with your computer and peripherals. Furthermore, the operation manual and techni-
cal support facilities assume you have a basic understanding of how your computer
works. If not, please go back and study the documentation that came with the com-
puter and related equipment.

- 184 -
 “It worked before...”
Often, when a program stops working it is because you have installed something
new or changed your conÞguration in some way. If possible, revert to the old setup
and check if things work then.
When you have done so, install the new components one at a time and check Re-
Birth One in between each one. This will help you pinpoint exactly what it is that
causes the problem.

Do other programs behave normally?

Sometimes when you have problems with general things like audio playback, MIDI
or Þle handling, it can help using other programs to perform similar operations. For
example, if none of your programs can play back audio, the problem might be with
the audio card or its installation, rather than with the programs.

Is everything installed properly? Did you really follow the installation

instructions?
Installing hardware and software can be a daunting task. The instructions that come
with the devices and program are there for a reason. Even if you consider yourself
a seasoned expert, and even if the manufacturer boasts ÒPlugÕnÕPlayÓ support,
please read the instructions and ReadMe Þles, there might be something there you
missed!

Is there a system conflict?

Sometimes, problems that appear to be related to a certain program or device are
actually caused by something entirely different. Try the following:
• Disable any system extensions and additions not required for running Re-
Birth One.

- 185 -
 • Remove any background programs you have installed.
• Quit all other programs.
• Try with a simple computer configuration.
• De-install any special hardware that might interfere with your system.
• Now, run ReBirth One again and see if the problem persists.

If there is something you don’t understand

Did you really read the manual thoroughly?

We have to say this: a lot of time and effort was put into providing as accurate and
complete documentation for ReBirth One as possible. Chances are big that the in-
formation you are looking for is somewhere in the documentation that came with
the program:
• Use the Table Of Contents for finding overall procedures.
• Use the Index to find descriptions related to certain terminology.
• If the documentation is in electronic format, use the Find feature to
search for keywords.
• Read the ReadMe files included with the program. These often contain
last minute notes and information about special situations.

- 186 -
 Reduce the number of pitfalls
When you try to come to grips with a certain procedure or function, try it on some-
thing simple. Create some simple material that you can use as ÒworkbenchÓ. Disa-
ble all unrelated functions and features, hold your breath, and try again. Often,
when minimizing unrelated options, it is easier to see what is going on within the
program.

What you need to have at hand

So, you tried all of the above, and you still have problems. This is what you need to
have at hand before you contact technical support:

Serial number and registration information

You must be prepared to state the program serial number of the program and other
registration information. This is found somewhere on the package or on a separate
registration card.

Version number
This is very important. The version of the program can be found in the About box.

System details
We will need to know many things about your system, like:
• Computer brand and specifications (RAM, hard disk, installed cards etc).
• Graphic and audio card details (driver versions etc.).
• Windows/Mac OS versions.
• Details about other programs you have installed.

- 187 -
 A description of the problem
The importance of this can not be underestimated. A description like Òit sometimes
crashesÓ doesnÕt do much good. We need to know:
• The exact series of events that cause a problem.
• Reports about exactly where in the series of events the problem occurs.
• Detailed information about any error messages or alert boxes that appear.

How to contact Tech Support

• Contact your local distributor in the way they instruct you, or...
• Pull down the Contacts/Help menu and select “Go to Steinberg’s Service
Site”.

- 188 -
Appendix C
Glossary 16

- 189 -
This chapter explains some of the technical terms used in ReBirth One and its doc-
umentation:

Accent In this context, a way to control the dynamics of a sound.

A note played with accent is louder or more emphasized
than other notes.
AIFF (.AIF) Abbreviation for Audio Interchange File Format. The stan-
dard audio file format on Macintosh computers.
Audio Card A card in your computer that provides it with audio in-
puts and/or outputs. When you hear the Windows 95
startup sound on your PC, your hearing audio from the
audio card. On a Macintosh, audio connectors are built
in, which means adding an audio card is an option.
Audio File A file that contains digitized audio. Any audio recording
you make on your computer is stored in an audio file.
Bank A set of Patterns. In each Section in ReBirth One there are
four Banks labelled A to D. Each Bank contains eight Pat-
terns.
Bank Selectors The buttons used to select Banks.
Buffer A memory area used to store data temporarily. For exam-
ple, when ReBirth One plays audio, it stores the audio in
a buffer where the audio card can read it before convert-
ing it to an audio signal.
Cubase Steinberg Soft- & Hardware’s state of the art audio and
MIDI sequencer.
Cutoff A control on a Filter. In the case of ReBirth One, it con-
trols the “brightness” of the sound.
Decay A control that determines the length of a sound.

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Delay In a musical context, this is an effect that creates echoes
and “repeats”.
Digitized When some type of data is converted into numbers.
When you record audio on a computer, the audio is digi-
tized so that it can be stored in the computer’s memory,
manipulated (edited), shown on screen etc.
DirectX System routines for Windows 95 and Windows NT, for
playing back audio, video and other media components.
Also see Multimedia Extensions.
Dist An abbreviation for Distortion.
Distortion When a sound sounds “dirty” it is distorted. This can ei-
ther be a deliberate effect (as when you add distortion to
an electric guitar sound) or unintentional as when you
record a signal on a tape recorder, with too high a level.
Dynamics The difference between weak and strong levels.
Envelope A device on a synthesizer used to control the “shape” of a
sound. An envelope usually has parameters like Attack
and Decay.
Feedback When an output signal is routed back to the input, in var-
ious amounts. In this case, it is a setting in a Delay, that is
used to create repeating echoes.
Filter In this case a device used to introduce timbral changes to
a sound.
Focus In this case, the section with “the focus” will be the target
for some operation. For example, when you Paste, the
Pasted material will appear in the section with the focus.
Focus bar A visual display in ReBirth One (an orange bar) that
shows you which Section has the Focus (see above).

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Instrument In this case, a drum sound or rhythm sound in ReBirth
One’s Rhythm Section.
Latency In this case, the inherent delay in the audio part of a com-
puter system. See page 174.
MIDI A system for transmitting musical performance data (not
audio!) between musical instruments, computers and re-
lated devices. MIDI is an acronym for Musical Instrument
Digital Interface.
MIDI Clock A part of MIDI used for synchronizing playback devices
to each other so that they all play at the same tempo.
Mixer In this case, a device that is used to mix sounds together
and to control basic aspects of sound such as volume,
panning and timbre.
MME Abbreviation for Multimedia Extensions.
Multimedia Extensions A set of system routines introduced with Windows 3.x,
used for standardizing audio and other media handling
under Windows. Also See DirectX.
OMS Open Music System. A system for standardized handling
of MIDI on Macintosh and PC computers. Developed by
Steinberg Soft- & Hardware GmbH and Opcode Systems
Inc. Only the Macintosh version of ReBirth One uses
OMS.
Pattern In this context, a short snippet of music, a synth or rhythm
phrase.
Pattern Selector Buttons for selecting Patterns.
Resonance In this case, a Filter control. Used to give the sound a
more prominent character and “hollow” quality.

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Rhythm Instrument In this case, one of the sounds available in the Rhythm
Section in ReBirth One.
Rhythm Section The part of ReBirth One that provides the rhythm and
drum sounds.
Section ReBirth One has six sections (machines, devices, parts):
one Rhythm section, two Synth sections , one Delay sec-
tion, one Distortion section and one Master section..
Section focus See Focus.
Sequencer A device that records and plays back a musical perfor-
mance.
Shared Instrument Some rhythm sounds in ReBirth One are mutually exclu-
sive, that is only one of them can play at a time. These are
called shared instruments.
Sound selector A: The large knob in the ReBirth One rhythm section used
to select sounds. B: the sound legends on the rhythm sec-
tion front panel, also used to select sounds.
Step Patterns are divided into steps. Each step plays a rhythm/
synth sound. One step represents a sixteenth note.
Sync Abbreviation for Synchronization.
Synchronization In this context: when two or more devices are “locked to
each other” in some way, so that they play together, for
example at the same tempo.
Synth Section In ReBirth One, the two synth sections provide all the
synthesizer sounds.
Tuning Controlling the pitch of a sound.

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Underruns When data is output from a Buffer at a faster pace than it
is coming in. As you understand this is an impossible sit-
uation that normally causes glitches of some kind.
Wave (.WAV) The standard audio file format on PC computers.
Waveform The “shape” of a sound. On many synthesizers you select
various waveforms to get a basic character for your
sound, before shaping it with Envelopes, Filters etc.

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Appendix D
Keyboard Shortcuts 17

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Menus

File menu

Command: Mac: PC:

New [Command]-[N] [Control]-[N]
Open [Command]-[O] [Control]-[O]
Close [Command]-[W] [Control]-[W]
Save [Command]-[S] [Control]-[S]
Song Information [Command]-[I] [Control]-[I]
Quit [Command]-[Q] [Control]-[Q]

Edit menu

Command: Mac: PC:

Cut [Command]-[X] [Control]-[X]
Copy [Command]-[C] [Control]-[C]
Paste [Command]-[V] [Control]-[V]
Random Accents etc. [Command]-[R] [Control]-[R]
Copy Touched Controls to Song [Command]-[T] [Control]-[T]

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Transport Controls
The following transport commands can be executed from the numeric key pad, to
the left on the computer keyboard:

Command: Mac: PC:

Stop [0] [0]
Play [Enter] [Enter]
Stop/Play [space bar] [space bar]
Record [*] [*]
Fast Forward [=] [Page Up]
Rewind [Num Lock] [Page Down]
Go to Loop Start [1] [1]
Go to Loop End [2] [2]
Tempo Up [+] [+]
Tempo down [–] [–]

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Pattern Selection
To select Patterns from the computer keyboard, make sure ÒSelect Patterns from
KeyboardÓ is selected on the Options menu. Use the typewriter part of the compu-
ter keyboard!
This assumes you are using an American keyboard. If not, check the illustration on
page 23 instead. The keys are on absolute positions on the keyboard, not on certain
character positions.

Pattern: 1 2 3 4 5 6 7 8
Synth 1: [1] [2] [3] [4] [5] [6] [7] [8]
Synth 2: [Q] [W] [E] [R] [T] [Y] [U] [I]
Rhythm: [A] [S] [D] [F] [G] [H] [J] [K]

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Synth Programming
To program the synth section from the computer keyboard, make sure ÒProgram
Synth from KeyboardÓ is selected on the Options menu.
This assumes you are using an American keyboard. If not, check the illustration on
page 51 instead. The keys are on absolute positions on the keyboard, not on certain
character positions.

Command: Mac/PC:
Step [Return]
Back [Backspace]
C [C]
C# [F]
D [V]
D# [G]
E [B]
F [N]
F# [J]
G [M]
G# [K]
A [,] (comma)
A# [L]
B [.] (period)
C [/]

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Command: Mac/PC:
Note/Pause [–]
Accent [P]
Slide [[](left bracket)
Octave Down [;](semicolon)
Octave Up [‘] (apostrophe)

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Index 18

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A C
About ReBirth One 158, 171 CB 145
AC 145 CH 145
Accent CL 145
Rhythm 38, 145 Clear Pattern 162
Synth 52, 58, 149, 151 Clearing
Adjust Sync 109, 123 General 63
Alter 65, 163 Synth 55, 148
Amount (Distortion) 73, 154 Close 158
Apple menu 158 Computer 21
Audio Computer keyboard 21, 195
Buffer 12, 15 Contact Propellerhead Software 171
Exporting 136 Contact Steinberg 171
Playing in background 127 Copy
Setting up 9, 15 in Song 96
Sharing on Mac 127 Pattern 60
Sharing under Windows 126 Copy Loop 168
Audio card 173 Copy Pattern 161
Mac and Cubase 112 Copy Touched Controls 86, 92, 169
Macintosh 181 CP 145
PC and Cubase 113
Crackle safe 15
Selecting 10
Sharing audio 126, 127 Cubase 100
Audio Card Driver 10, 166, 178 Customizing Songs 131
Audio Quality 173 Cut
Audio Sharing 111 Loop 96, 167
Pattern 60, 161
Cutoff 57, 150
CY 145
B
Back 46, 149
Background playback 127
Bank selector 142
BD 145
Buffer size 12, 15

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D Fast Forward button 140
Decay Feedback 77, 156
Rhythm 41, 146 Focus Bar 24, 62
Synth 58, 151 FX 41, 146
Delay
Amount 153
Feedback 156 H
Introduction to 74 HC 145
Meter 155 Help 171
On/off 155 Hi-hat (open vs. closed) 38
Pan 156 HT 145
Reference 155
Hubi’s Loopback Device 105, 120
Steps (Length) 156
DirectX 10, 176
Distortion
Amount 154 I
Introduction to 72 Initialize Song from Pattern mode 82, 168
On/Off 154
Reference 154
Switch 153 K
Down 148 Keyboard
Shortcuts 195
Synth Programming From 50
E
Effects
Delay 74 L
Distortion 72 Latency 174
Introduction to 68 LB1 121
Env. Mod. 58 LC 145
Export Loop as AIFF/Wave 128, 136, 160 Level
Export Loop as Audio File 128, 136, 160 Introduction to 27
Master 70
Mixer 69
F Rhythm 41
F.Back 77, 156
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Loop MT 145
On/Off 141 MultiMedia Extensions 176
Playback 80 Multitasking friendly 15
Recording 93 Muting 70
Start and Length 141
LT 145
N
New 131, 158
M Note/Pause button 149
MA 145
Master
Level 26, 157 O
Meter 157
Master Level 70 Octave 52
Master Section 157 OH 145
MC 145 OMS 102, 118
Meter Open 158
Delay 155 Opening Songs 134
Distortion section 154
Master 157
Mixer 152 P
MIDI Clock 115 Page Setup 160
MIDI Clock Sync 117 Pan
MIDI Clock Sync Enable 166 Delay 77, 156
MIDI Clock Sync Input 166 Mixer 71, 153
MIDI Input 117 Paste
MIDI Port 118, 119 Pattern 60, 161
Mixers 25, 152 Song 96
Mixing Paste at Song Position 168
Introduction to 68 Paste Replace at Song Position 97, 168
Levels 69
Master Level 70
Muting 70
Pan 71
MME 176

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Pattern R
Length 40, 55 Random 64, 163
Moving between Songs 135 Rebirth One Web Site 171
Rhythm programming 29
Record button 140
Selecting 22
Synth programming 42 Remove 96
Pattern Editing Repeating measures 97
Alter 65 Reso 151
Copy 60 Resonance 57, 151
Cut 60 Rewind button 140
Paste 60 Rhythm Patterns
Random 64 Accents 38
Shift 63 Adding notes 34
Transpose 66 Clearing 39
Pattern mode 18, 79 Lengths 40
Pattern selector 142 Programming 29
Patterns and knob settings for new Songs Removing notes 34
167 Rhythm sounds
Pitch buttons 148 Parameters 41
Pitch Mode 48, 49, 147 Reference 145
Pitches Selecting 32
Shared sounds 36
from Keyboard 51
RS 145
Setting in existing Pattern 49
Specifying 47
Play Ahead 166
Play button 140 S
Playback Performance slider 166 Save 159
Preferences 164 Save As 159
Processor type 180 Saving Songs 132
Program Synth from Keyboard 170, 199 SD 145
Select Patterns from Keyboard 170, 198
Shared sounds 146
Q Shift 63, 162
Quit 160 Slide 53, 149

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Song Synchronization
Customizing 131 Considerations 108
End 86 Cubase 102
Introduction to 79 Delay 122
Moving Pattern between 135 Introduction to 115
New 131 Song Position Pointers 124
Opening 134 Tempo changes 125
Playing 80 Tempo Display 124
Punching In and Out 87 To external device 116
Recording Control changes 89 To other program 118, 119, 120
Recording Pattern changes 83 Synth Patterns
Saving 132 Accent button 52
Song Editing 96 Clearing 55
Copy 96 Length 55
Cut 96 Notes or pauses for start 45
Paste 96 Octave 52
Paste Replace 97 Pitch Mode 48, 49
Repeating 97 Pitch mode 49
Song Mode 18, 79, 138 Programming 42
Song Position Pointers 124 Programming from keyboard 50
Sound Manager 14, 181 Slide 53
Sound Selector 32, 144 Synth settings
Startup Song 131 Accent 58
Step Cutoff 57
Button 46, 149 Decay 58
Buttons 34 Env. Mod. 58
Display 143, 150 Resonance 57
Steps (Delay setting) 77, 156 Tune 57
Stop button 140
Straight notes/Triplets 77, 156
Sync Delay 108, 122
Sync to MIDI Clock 117, 118, 170

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T
Tech support 171
Tempo 139
Tempo changes 125
Tempo display 124
Tone 41, 146
Transport Panel 138
Transpose 66, 163
Tune
Rhythm 41, 146
Synth 57, 150

U
Underruns 166
Up 148
Use Current Song 131

V
Values, setting 19
Volume 69
Master 157
Mixers 153
Rhythm 41

W
Waveform selector 150

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