Copyright 2018, Newfangled Audio

P/N: 141937, Rev 3

Newfangled Audio and Recirculate are trademarks of Orthogonal Art
and Science, LLC.
AAX and Pro Tools are trademarks of Avid Technology. Names and logos
are used with permission.
Audio Units is a trademark of Apple, Inc.
VST is a trademark of Steinberg Media Technologies GmbH.
All other trademarks contained herein are the property of their respec-
tive owners.
Recirculate proudly uses the PFFFT library, which is available at https:
//[Link]/jpommier/pffft.

Newfangled Audio
[Link]

I
Contents

1 Newfangled Audio Recirculate 1

2 Installation and Instantiation 4

2.1 Registering Your Plug-in . . . . . . . . . . . . . . . . . . . . . . 4
2.2 Activating Your License . . . . . . . . . . . . . . . . . . . . . . 5
2.3 Installing Your Plug-In . . . . . . . . . . . . . . . . . . . . . . . . 5
2.4 Moving or Removing an Activation . . . . . . . . . . . . . . . 5
2.5 Removing or Uninstalling your Plug-In . . . . . . . . . . . . . . 6

3 Navigation Bar 7
3.1 UNDO/REDO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3.2 A/B COMPARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
3.3 LIBRARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
3.3.1 SEARCH and FILTERS . . . . . . . . . . . . . . . . . . . . 8
3.3.2 PRESET LIST . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.3.3 PRESET INFO . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.3.4 PLUGIN UI . . . . . . . . . . . . . . . . . . . . . . . . . . 9
3.4 PRESET SELECTOR . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.5 SAVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3.5.1 PRESET NAME . . . . . . . . . . . . . . . . . . . . . . . . 11
3.5.2 SET AS DEFAULT . . . . . . . . . . . . . . . . . . . . . . . 11
3.5.3 HEART ICON . . . . . . . . . . . . . . . . . . . . . . . . . 11
3.5.4 SAVE BUTTON . . . . . . . . . . . . . . . . . . . . . . . . 11
3.5.5 EXPORT BUTTON . . . . . . . . . . . . . . . . . . . . . . . 11
3.5.6 PLUGIN UI and DESCRIPTION . . . . . . . . . . . . . . . 12
3.5.7 CATEGORY . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.5.8 AUTHOR . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.5.9 TAGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
3.5.10 DESCRIPTION . . . . . . . . . . . . . . . . . . . . . . . . 12
3.6 BUSS and PRESET LOCKS . . . . . . . . . . . . . . . . . . . . . . 12
3.6.1 BUSS button . . . . . . . . . . . . . . . . . . . . . . . . . 13
3.6.2 PRESET LOCKS . . . . . . . . . . . . . . . . . . . . . . . . 13
3.7 SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
3.7.1 INSTALLED VERSION . . . . . . . . . . . . . . . . . . . . . 15
3.7.2 USER GUIDE . . . . . . . . . . . . . . . . . . . . . . . . . 15
3.7.3 SHOW METERS . . . . . . . . . . . . . . . . . . . . . . . . 15
3.7.4 BRIGHTNESS . . . . . . . . . . . . . . . . . . . . . . . . . 15

II
 3.7.5 OPENGL GRAPHICS RENDERING . . . . . . . . . . . . . 15
3.7.6 COLOR SCHEME . . . . . . . . . . . . . . . . . . . . . . 15
3.7.7 PRESETS FOLDER . . . . . . . . . . . . . . . . . . . . . . . 15
3.7.8 DEFAULT SETTINGS . . . . . . . . . . . . . . . . . . . . . . 15
3.8 Resize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

4 Parameters and Metering 17

4.1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
4.2 Global Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 18
4.2.1 INPUT AND OUTPUT LEVEL AND BAR METERS . . . . . . 18
4.2.2 ACTIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4.3 STEM DISPLAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
4.3.1 SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
4.3.2 STEM CONTROL . . . . . . . . . . . . . . . . . . . . . . . 21
4.4 DELAY SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.4.1 MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
4.4.2 DELAY BEATS/DELAY TIME . . . . . . . . . . . . . . . . . 23
4.4.3 FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
4.4.4 DYNAMICS . . . . . . . . . . . . . . . . . . . . . . . . . . 25
4.4.5 CHARACTER . . . . . . . . . . . . . . . . . . . . . . . . . 27
4.4.6 SOUNDSTAGE . . . . . . . . . . . . . . . . . . . . . . . . 28

5 Conclusion 32

6 About Newfangled Audio 33

III
1
Chapter 1

Newfangled Audio
Recirculate

2
A feedback echo is a beautiful thing. More than just repeating the sig-
nal ad nauseam, the processing in the feedback path is applied each
time the signal passes through. The right combination of processing will
cause the signal to slowly morph into something beautiful, ugly, or just
unrecognizable. But that repeated processing is magical, and most im-
portantly, it sounds interesting.
Recirculate is a feedback echo plug-in with a focus on the processing
in the loop. Instead of trying to recreate old technologies we focused
on putting the highest quality processing in the feedback loop, and de-
signed the UI to allow you to deftly pull up any combination of these
effects to create any echo effect you’d like, and to quickly tune it to the
sound in your head. We hope the combination of features inspires you,
and that you have a good time using it..

3
Chapter 2

Installation and
Instantiation

Newfangled Audio plug-ins are distributed by Eventide and like other

plug-ins Eventide distributes, Recirculate uses PACE’s [Link] licensing
system, with or without and iLok hardware dongle. Each license provides
two activations which can reside on either your computer or on an iLok
license dongle. Once you’ve purchased your plug-in, you’ll need to
register it on Eventide’s website, activate your license, and install the
plug-in on to your computer

2.1 Registering Your Plug-in

When you purchase Recirculate, you’ll receive a Serial Number and Li-
cense Key. The Serial Number will be two letters followed by 6 numbers.
If you have an individual Recirculate license, the Serial Number will start
with NQ (i.e. NQ-######). The License Key will be 3 sets of 4 characters,
a letter or a number, each; like XXXX-XXXX-XXXX.
Once you’ve received these codes, you can register your plug-in on the
Eventide website. To do so, please log in to [Link]
com, navigate to My Account in the top right corner, and select Reg-
ister a New Product. Then, fill out the form by selecting Native Plug-in
(VST, AU, AAX) in the Product Category field, select Recirculate in the
Product list, and enter your Serial Number, License Key, and [Link]
account name. If you don’t yet have an [Link] account, you can
create one for free at [Link] Once you’ve done so, press
Register.
Once you’ve entered this information and pressed the Register button,
Eventide will send the applicable plug-in license to your [Link] ac-
count, which you will need to activate to your computer or iLok don-
gle.

4
2.2 Activating Your License
To activate and manage your plug-in licenses you’ll need to install PACE’s
iLok License Manager software which you can download from http:
//[Link]. If you don’t have this software installed, please down-
load and install it now.
Once you have installed and launched iLok License Manager you should
be able to log in to your account by clicking the large "Sign In" button
in the upper left hand corner of the application. Once you have, you
should be able to see available licenses by choosing the Available tab
at the top of the iLok License Manager application. If you have suc-
cessfully registered your plugin, your Recirculate Native license will be
available in this list. Please activate this license by dragging it to either
your computer or iLok dongle listed on the left. When you do so, you
will be asked to confirm the activation, and you will be able to see it by
clicking on the location you have chosen. At this point your license is
activated.

2.3 Installing Your Plug-In

You should have been given a link to the Recirculate plug-in installer
when you purchased your plug-in, but if you haven’t, you can find down-
loads for all of our plug-ins at [Link]
Please download and launch the correct installer for your system.
Once you’ve launched the plug-in installer, it will take you through sev-
eral pages of options. We have tried to choose defaults for these op-
tions which will best serve the majority of users, but it is worth a minute to
make sure you understand these options before clicking through to the
next page. A common issue with Windows VST plug-ins is choosing the
correct VST directory, which can be different on each system. Please
pay special attention to this setting. Once you have followed through
the installer, your plug-ins and presets should be in your chosen locations,
and you can hit finish to end the installer application.
At this point, you should be ready to use your Recirculate Plug-In.

2.4 Moving or Removing an Activation

If at any point, you decide to move your plug-in activation, you can do
so in iLok license manager. To move an activation between an iLok don-
gle and your computer, simply plug in the iLok, locate the license in its
current location, and drag it to its new location. To deactivate a license,
find it in its location, right click on it, and choose deactivate.
Remember that each Recirculate Plug-In License comes with two acti-
vations, which can be used on either a computer or iLok dongle, mean-
ing you can use Recirculate in two locations at the same time.

5
2.5 Removing or Uninstalling your Plug-In
We’re sure you’ll love your Newfangled Audio plug-ins, but if you ever
want to remove them from your machine it’s as easy as removing the
following files.
For Mac:
• Macintosh HD/Library/Audio/Plug-Ins/Components/<Plug-In Name>.component
• Macintosh HD/Library/Audio/Plug-Ins/VST/Newfangled Audio/<Plug-
In Name>.vst
• Macintosh HD/Library/Audio/Plug-Ins/VST3/Newfangled Audio/<Plug-
In Name>.vst3
• Macintosh HD/Library/Application Support/Avid/Audio/Plug-Ins/Newfangled
Audio/<Plug-In Name>.aaxplugin
• /Music/Newfangled Audio/<Plug-In Name>/
For Windows:
• c:\Program Files\Common\Steinberg\VST2\Newfangled Audio\<Plug-
In Name>.dll
• c:\Program Files\Common\VST3\Newfangled Audio\<Plug-In Name>.vst3
• c:\Program Files\Common\Avid\Audio\Plug-Ins\Newfangled Au-
dio
<Plug-In Name>.aaxplugin
• My Documents\Newfangled Audio\<Plug-In Name>\

6
Chapter 3

Navigation Bar

At the very top of the plug-in is a navigation bar which allows you to
undo and redo changes, access the preset librarian, settings, and man-
age several other global features of the plug-in.

3.1 UNDO/REDO
On the far left is an UNDO and REDO button. After changing any plug-in
parameter in the plug-in interface the UNDO button will activate. Press-
ing it at this point will undo this action. At this point the REDO button will
become active, and pressing it will redo this action. Multiple levels of
undo are available and you can move back through several changes
to reach an earlier state.

3.2 A/B COMPARE

Next you’ll find buttons labeled A/B and A>B. These two buttons allow
you to easily toggle between two states of the plug-in and compare
the sounds. By default the plug-in is in the A state and you’ll notice that
the "A" is highlighted. In this state pressing the A>B button will copy the
A state to the B state. Toggling the A/B button will switch to the B state,
highlighting the "B" and switching the A>B button to B>A (allowing you
to copy the B state to the A state).
Any changes you make in the plug-in interface will update the high-
lighted state. In this way, you can copy the A state of the plug-in to
the B state, make changes to the A state, and use the A/B button to
compare these two states.

7
3.3 LIBRARY
The Library button launches the Preset Librarian which can be used to
explore the plug-ins presets based on any combination of category, au-
thor, tags, or favorites.

The Preset Librarian is split into four main sections.

3.3.1 SEARCH and FILTERS

The top of the Preset Librarian shows the BANKS, SEARCH BAR, and FIL-
TERS.
Typing a phrase into the search bar will allow you to search all the presets
by a given phrase. You can further restrict this search by selecting a
BANK or FILTERS.
Pressing the BANKS button opens a screen which allows you to restrict
your search to the presets in either the FACTORY or USER bank. Or addi-
tional preset banks if you have any installed.
Pressing the FILTERS button opens a screen which allows you to restrict
your search to presets matching a specific CATEGORY, AUTHOR, or one
of several TAGS. Additionally, you can restrict your search to FAVORITES if
desired.

8
3.3.2 PRESET LIST
The bottom of the Preset Librarian shows the list of presets which match
the current criteria. It displays the FAVORITE status using a heart icon, the
preset NAME, the preset CATEGORY, the preset AUTHOR, and the preset
BANK. You can sort the list by any of these. The up and down arrows on
your keyboard will allow you to toggle through the presets.

3.3.3 PRESET INFO

The center right of the Preset Librarian displays information about the
currently loaded preset. This area shows the preset name, a short de-
scription if available, the category, the preset author - including a link to
their work, the preset’s tags, and its bank.

3.3.4 PLUGIN UI
The center left of the Preset Librarian displays a miniature version of the
plug-in UI. This plug-in UI is not editable, but it is live and will show you
the current settings of the plug-in, as well as any meters. We’ve found it
incredibly useful to see this display as we’ve toggled through presets to
get a sense of what each preset does.

9
3.4 PRESET SELECTOR

In the center of the navigation bar is a dropdown preset selector. Click-

ing on this preset selector will show you the plug-ins presets in several
views.
1. All will show you all the presets in alphabetical order.
2. Favorite will show you all your favorite presets in alphabetical order.
3. Filtered will show you all the presets which correspond to the cur-
rent filter in alphabetical order. This filter is set up in the preset librar-
ian.
4. User will show you just your presets, saved in your USER folder.
5. Underneath these the presets are displayed according to their Cat-
egory, as assigned when a preset is saved.
Once you load a preset from this dropdown list the Left and Right arrow
buttons allow you to toggle through the selected subgroup in order. For
more advanced preset selection click the LIBRARY button to enter the
preset librarian.
Additionally, if you like the sound of the current preset you can click the
heart icon to set the loaded preset as a favorite. If a loaded preset is
modified the heart icon will become an asterisk and the preset name is
italicized, indicating that the current sate no longer matches that of the
saved preset.

3.5 SAVE
The SAVE button launches the preset save screen where you can save a
preset and assign categories, tags, and descriptions, as well as set the
default state of the plug-in.

10
3.5.1 PRESET NAME
This field sets the preset name. There can only be one preset with a
given name.

3.5.2 SET AS DEFAULT

This button will set the current state of the plug-in as a plug-ins default.
This means when you load the plug-in the it will default to these set-
tings.

3.5.3 HEART ICON

This will mark this preset as a favorite when you save it.

3.5.4 SAVE BUTTON

This button saves the preset

3.5.5 EXPORT BUTTON

In order to be browsed by the plug-in the presets are saved in a partic-
ular folder. However, if you want to save the preset elsewhere on your
computer you can use the EXPORT button to export it as a file.

11
3.5.6 PLUGIN UI and DESCRIPTION
This section shows the current settings of the plug-in, and how it will ap-
pear in the preset librarian.

3.5.7 CATEGORY
Set the category for the preset you are saving. A preset can have only
one category. If the preset doesn’t fit into any of the existing categories
you can use the [+] button to create a new one.
The existing categories are based on those that are found in the existing
presets. If you create a new one it will appear in this list with an "X" on it.
If you decide not to use the newly created CATEGORY you can remove
it by clicking on the "X". However, once the preset is saved this category
will be permanent and available to all newly saved presets, unless you
delete all presets which use it.

3.5.8 AUTHOR
The AUTHOR section allows you to add your name and a url if you main-
tain a presence on the web. This will be automatically populated with
the information from the last saved preset, so you will only likely need to
enter it once.

3.5.9 TAGS
You can add any number of TAGS to a saved preset. These TAGS will
allow your preset to be found in the preset librarian. It’s best to add the
tags that apply to the preset, and don’t add the ones that don’t. You
can create a new tag using the [+] button.
The existing tags are based on those that are found in the existing pre-
sets. If you create a new one it will appear in this list with an "X" on it.
If you decide not to use the newly created TAG you can remove it by
clicking on the "X". However, once the preset is saved this tag will be
permanent and available to all newly saved presets, unless you delete
all presets which use it.

3.5.10 DESCRIPTION
If desired you can add a short description to the preset. It’s best to use
this field to add information about what a preset is for, or any hints for a
user about how to use it.

3.6 BUSS and PRESET LOCKS

12
The preset bar contains four buttons that control how the presets are
loaded, a BUSS button, and a lock icon followed by three buttons la-
beled MIX, ECHO, and TONE.

3.6.1 BUSS button

BUSS is meant to be turned on whenever Recirculate is located on a
buss, or aux return. Placing a delay effect on an buss is a technique
used by pro producers and mix engineers to place many tracks in the
same space. When BUSS is turned on all the presets will load with the
DRY level at -100 dB. This will allow the dry level to come from the mix
channel, and Recirculate will only provide the wet effect.

3.6.2 PRESET LOCKS

The LOCK buttons will lock groups parameters, keeping them from being
loaded with a new preset.

MIX LOCK

MIX LOCK will lock the DRY, WET, DRYFX, and WIDTH parameters.

ECHO LOCK

ECHO LOCK will lock the DELAY TIMES, the FEEDBACK LELVELS, the various
linking modes, and the GRID, TEMPO, and SNAP options.

TONE LOCK

The TONE LOCK will lock the BEHAVIOR, FILTER, DYNAMICS, CHARACTER,
and SOUNDSTAGE sections.
These three buttons will greatly expand the variety available in this plug-
in. For instance, if you place Recirculate on a return you might want to
pull down the dry level and turn on MIX LOCK so that you can load
any preset in a wet only mode. Alternatively, if you like a particular
rhythm and want to audition other sounds you can use the ECHO LOCK
to lock the rhythm, and toggle through different tones. Finally, you can
do the same with TONE LOCK; if you like the sound of a particular setting,
but want to hear different rhythmic options, use TONE LOCK and shuffle
through the presets.

3.7 SETTINGS
The SETTINGS button pops down a settings page which contains addi-
tional options.

13
14
3.7.1 INSTALLED VERSION
This displays the version number that is currently installed. If you are run-
ning the latest version it will tell you. If there is an update an UPDATE
button will appear. Clicking this button will bring you to the downloads
page where you can get the latest version.

3.7.2 USER GUIDE

Pressing the SHOW button will launch this user guide.

3.7.3 SHOW METERS

The SHOW METERS button will show or hide the additional meters in the
plug-in. Specifically, turning it off will hide the glow in the RADAR control,
the envelope graph behind the LEVEL DETECTOR section, and the curve
graphic behind the CURVE section.

3.7.4 BRIGHTNESS
The BRIGHTNESS control will control the brightness of the glow in the
RADAR control, the envelope graph behind the LEVEL DETECTOR sec-
tion, and the curve graphic behind the CURVE section.

3.7.5 OPENGL GRAPHICS RENDERING

The USE OPENGL button will enable OpenGL rendering of the UI. For this
setting to take effect you must close and reopen the UI. If you that the
plug-in UI renders better with OpenGL on or off on your computer you
can save this as the default setting and new instantiations will always
load using this setting.

3.7.6 COLOR SCHEME

The COLOR SCHEME dropdown will allow you to choose one of several
different color schemes for your viewing pleasure.

3.7.7 PRESETS FOLDER

Clicking the REVEAL button will bring you to the presets folder. This is only
necessary if you want to share you presets with someone else, or access
these files for another reason.

3.7.8 DEFAULT SETTINGS

Pressing the SAVE button will save all the current settings as the default
for the plug-in. This is useful if you’d like a different starting point than the
one we’ve provided.

15
3.8 Resize
The bottom right corner of the UI will allow you to resize the plug-in. To
change the default plug-in size drag the plug-in to the desired size and
save over the default preset.

16
Chapter 4

Parameters and Metering

Recirculate has only two main controls, as well as a couple helpful con-
trols. They are all described here.

4.1 Controls
Recirculate has several control types, including horizontal sliders, rotary
knobs, drop-down menus, and toggle and radio buttons, all of which
have tool-tips which will give you more information about their function
if you hover your mouse above them.
In general, all sliders and knobs can be double clicked to type in a
specific value, option-clicked to return them to their default value, or
command-clicked or control-clicked to enter a vernier mode for fine
tuning.
Where appropriate, many controls have a related on/off button which
will deactivate this control, or even the entire section.

17
4.2 Global Parameters
4.2.1 INPUT AND OUTPUT LEVEL AND BAR METERS

The left and right hand sides of the plug-in have matching vertical bar
meters which display the INPUT (on the left) and OUTPUT (on the right)
levels in levels in Peak (horizontal ticks), RMS (solid bar and numerical
display), and Peak Hold (numerical display) formats. These meters are
always present in the display and clicking the Peak Hold section, or by-

18
passing the plug-in will clear the held peak value.
Above the INPUT meter is a knob for the MASTER INPUT LEVEL, and above
the OUTPUT meter is an AUTO button which will allow you to automati-
cally compensate for the level change introduced by the DRIVE con-
trol, or not. Alternatively, by clicking the down arrow next to this button,
you can select a knob to manually set the MASTER OUTPUT LEVEL. The
MASTER INPUT LEVEL is just before the INPUT meter and the MASTER OUT-
PUT LEVEL is just before the OUTPUT meter. With the AUTO button off the
DRIVE control will add gain to your input signal. With the AUTO button on
the DRIVE control will recirculate your input audio without adding any
gain by reducing the headroom available to the signal by the DRIVE
amount.

4.2.2 ACTIVE

The ACTIVE button is located near the top left of the plug-in UI near the
NEWFANGLED AUDIO label in the header. It activates or bypasses all the
processing in the plug-in.

4.3 STEM DISPLAY

19
The top half of Recirculate is dominated by the Stem Display. This Stem
Display is the primary method of setting the delay time, mix, and feed-
back. It also allows you to sync the delay times to tempo or step, as well
as set separate delay times for the first echo and the repeats, and for the
two channels. Finally, it allows you to set the tempo syncing options, as
well as Recirculate’s behavior when you change the delay time.

4.3.1 SETUP
GRID

The GRID control allows you choose whether you set Recirculate’s delay
time in musical NOTES, sequencer STEPS, or MILLISECONDS. If STEPS is se-
lected you may also choose the number of steps in your measure.

TEMPO SYNC

There are two controls under the TEMPO header. The SYNC button de-
termines whether the tempo is provided by the host, or set in the plug-in
UI. When SYNC is active the TEMPO slider is deactivated, but if you turn
off the SYNC button you may use the TEMPO slider to set any tempo you
desire.

SNAP

The SNAP buttons allow the STEM display to automatically snap to NOTE
divisions, DOTTED note divisions, and note TRIPLET divisions automatically.
If the GRID mode is in STEPS you may select whether to SNAP to the STEP
value or not.

BEHAVIOR

The BEHAVIOR dropdown allows you to select between STANDARD, PITCH

WARP, and GRANULAR delay behavior.
STANDARD: Changing the delay time will create no audible artifacts,
and the SOUNDSTAGE section includes a CHORUS knob with rich modu-
lation.
PITCH WARP: Changing the delay time will create pitch warps. This can
create wonderful and fun effects when used in combination with feed-
back and the other sound shaping controls. Additionally, the SOUND-
STAGE section includes a MOD control with more extreme delay modu-
lation.
GRANULAR: Recirculate will create no pitch artifacts at all, and the SOUND-
STAGE section includes a SPRAY and SIZE control which control the grain-
size and randomization.
PING PONG: This sets up a PING PONG delay, where the repeats bounce
from side to side. The SOUNDSTAGE section includes a MOD control

20
which allows for some pleasant delay modulation, and the XFEED knob
is replaced with a PINGPAN knob, which controls where in the stereo
field the first repeat is panned.

4.3.2 STEM CONTROL

The main section in the STEM DISPLAY is the STEM CONTROL, which is
divided into 3 sections.

DRY LEVEL

The first set of (orange) stems controls the DRY level. This can be pulled
up and down to set the amount of DRY signal being passed through
Recirculate

WET LEVEL and FIRST ECHO time

The second set of (yellow) stems control the delay time of the FIRST ECHO
and the WET level. Treating the FIRST ECHO and REPEATS separately is
what makes Recirculate so powerful. By dragging these stems back and
forth you set the delay time of that FIRST ECHO, which is the primary thing
a listener will hear. Moving this stem up and down will set the WET level
for the first echo, and all the repeats.

FEEDBACK and REPEATS time

The final set of (blue) stems control the delay time for the REPEATS, and
the FEEDBACK level. When the FEEDBACK is turned all the way down
you won’t hear these repeats at all, but as it gets turned up you will hear
several or many copies of them, each processed by all of Recirculates
effects over and over again. This is what gives a feedback delay it’s
magical sound.
As mentioned, in Recirculate this repeat time can be different from the
FIRST ECHO time. Because the FIRST ECHO is such a strong indicator of
the rhythm of the song, this allows the repeats to be set much more
liberally than they would be in most echo effects. You can treat these
much more like ghost notes and they won’t subtract from the driving
rhythm of the song.
It’s important to note that you can grab any of the REPEATS stems, not
just the first one, and it will sync to any of the select SNAP divisions. This
makes it easy to put 3 repeats in a quarter note, or 5, or 7. This can sound
quite nice, when leaving that FIRST REPEAT on a strong downbeat like a
quarter, eighth, or dotted eighth.

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4.4 DELAY SETTINGS
The bottom half of Recirculate contains all the plug-in settings grouped
into 6 convenient sections.

4.4.1 MIXER

The MIXER section sets the DRY, WET, and FEEDBACK levels.

DRY

This sets the DRY level that is passed to the plug-in output. This control is
permanently linked to the DRY level in the STEM DISPLAY.

DRYFX

The wet path of Recirculate can be very effected at times. Sometimes

you might want some of that effect on your dry sound, too. This control
blends the effects in the delay into the dry path as well. You can set it
from 0% to 100%.

WET

This set the overall WET level, for both the FIRST ECHO and the REPEATS.
This control is permanently linked to the WET level in the STEM DISPLAY.

WIDTH

By default Recirculate can create a very wide stereo image. If this is

ever too wide you can reduce the width of the wet signal by bringing
down the WIDTH control.

FDBK L

This is the LEFT FEEDBACK control. This control is permanently linked to the
FEEDBACK level in the top half of the STEM DISPLAY.

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FDBK R

This is the RIGHT FEEDBACK control. This control is permanently linked to

the FEEDBACK level in the bottom half of the STEM DISPLAY.

LINK

This button LINKs the LEFT and RIGHT FEEDBACK controls so that they
move in tandem.

4.4.2 DELAY BEATS/DELAY TIME

The DELAY BEATS section sets the DELAY BEATS or the DELAY TIME for the
LEFT and RIGHT FIRST ECHO and REPEATS.

LEFT

The two controls labeled LEFT refer to the times of the FIRST ECHO (yellow)
and REPEATS (blue). These are usually set in the top half of the STEM
DISPLAY, but can also be set here if desired. If the GRID control is set
to NOTES or STEPS these are set in beats and can be selected from a
dropdown of common values, or they can be set freehand by clicking
and dragging on the control. If GRID is in MILLISECONDS than these
controls are in MILLISECONDS.

RIGHT

The two controls labeled RIGHT refer to the times of the FIRST ECHO (yel-
low) and REPEATS (blue). These are usually set in the bottom half of the
STEM DISPLAY, but can also be set here if desired. If the GRID control is
set to NOTES or STEPS these are set in beats and can be selected from
a dropdown of common values, or they can be set freehand by click-
ing and dragging on the control. If GRID is in MILLISECONDS than these
controls are in MILLISECONDS.

CHAN LINK

When the CHAN LINK button is active the left and right channels are
linked together and have the same delay time. (Excepting the SPREAD
control)

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ECHO LINK

When the ECHO LINK button is active the FIRST ECHO and the REPEATS
are linked together and have the same delay time. In this mode Recir-
culate acts as a standard delay.

4.4.3 FILTER

The FILTER section incorporates a powerful set of highpass and lowpass

filters that are inside the feedback loop of the delay. This means each
repeat gets progressively more filtered.

ON/OFF BUTTON

The FILTER header incorporates and ON/OFF button that allows you to
deactivate the whole section and it’s processing.

FILTER GRAPH

The two filters are incorporated into a FILTER GRAPH with two CONTROL
POINTS that set the CUTOFF and SHAPE of each filter. Moving the CON-
TROL POINT left and right will set the filter’s CUTOFF frequency, while mov-
ing the CONTROL POINT up and down will set the SHAPE, the exact be-
havior of which is determined by the FILTER MODE dropdown explained
below.
Additionally, clicking and dragging on the FILTER GRAPH background
will move the CONTROL POINTS in tandem. Dragging left and right will
slide the filter cutoffs to higher and lower frequencies. Dragging up will
move the cutoffs away from each other, opening the filter, and dragging
down will move them toward each other, closing the filter.
This control should become very intuitive after trying it and listening to
the output.

FILTER MODE

The lowpass and highpass filters each have a dropdown which allows
you to select the FILTER MODE. Clicking this will allow you to select from
one of five modes.

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SLOPE MODE: The SHAPE control morphs the filter from a 1 pole filter with
a 6dB/Octave slope to a 3 pole filter with an 18dB/Octave slope.
RESO MODE: The SHAPE control adds or subtracts resonance creating a
sharp peak or a smooth rolloff.
NOTCH MODE: The SHAPE control adds a notch at the cutoff frequency
of a 6dB/Octave filter, because this notch is inside the feedback loop,
the delays get progressively softer.
COMBO MODE: The SHAPE control adds or subtracts resonance forming
a hard peaking or soft notching shape.
SCOOP MODE: There is no highpass or lowpass characteristic. The SHAPE
control adds a cut at the CUTOFF frequency. This is wonderful for a full
band echo with no buildup in the mids.

4.4.4 DYNAMICS

The DYNAMICS section gives you control over the dynamics of the sig-
nal in the feedback chain, including transient modulation, compression,
ducking, and gating. These controls help your repeats sit in the mix and
and keep them from becoming overwhelming.

ON/OFF BUTTON

The DYNAMICS header incorporates and ON/OFF button that allows you
to deactivate the whole section and it’s processing.

TRANSIENT

The TRANSIENT knob goes from -200% to +200%. When it’s at 0% it passes
your audio completely normally.
As you turn it up to 100% it removes the sustained part from your audio,
leaving only the transient. This can be very useful in creating rhythmic
echo patterns on drums that give a sense of a complicated rhythm with-
out overwhelming the listeners with many copies of each drum. It’s like
playing ghost notes.
As you turn it up past 100% it removes even more of the sustained part,
leaving only the most transient material.

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Turning the TRANSIENT knob toward -100% will remove the transients, leav-
ing only the sustained signal. This can be very useful on vocals or other
legato instruments where you want to create a sense of space without
hearing distinct echoes.
Turning the TRANSIENT knob past -100%, toward -200% will remove all
transients letting only the most legato signals through.
Note: Because the TRANSIENT control removes signal content this can
effect the behavior of the FEEDBACK controls in a signal dependent way.
If you play an instrument with no attack while the TRANSIENT knob is
turned all the way up, it may be that no sound passes through at all.
Likewise, if you play a staccato sound with TRANSIENT all the way down,
no sound will pass.

LENGTH

This knob controls the TRANSIENT LENGTH. A low value will let just the
shorted transients and not onsets through, while a longer LENGTH will
include more of the note body.

COMPRESS

The sound of many classic feedback echo topologies is, in part, due
to natural compression in the feedback loop. This sound is recreated
here with a dedicated knob. Turning COMPRESS up will add density and
weight to the repeats and give them a slightly "organic" quality, for lack
of a better word. Try it and listen, it sounds great.

DUCKING

A ducker is a signal processor that pushes one sound out of the way
of another. A ducked delay is a delay that reduces the delay output
when the dry signal is present, but lets it ring out when the dry signal
retreats. On vocals, for instance, this allows the listener to hear the vocal
line clearly, while the singer is singing, while allowing for lush repeats to
ring out while they are silent.
The DUCKING knob controls the amount of DUCKING applied in Recir-
culate.

GATE

The opposite of DUCKING, the GATE is designed to allow the effect through
only when there is dry signal present. This can create a nice depth that
happens only when the instrument is playing, and has the result of tying
the delay more closely to the envelope of the sound, allowing the ef-
fect to be heard as a timbral modification of the sound, rather than a
discrete sound, itself.

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Note: Turning GATE and DUCKING up at the same time may reduce or
eliminate the wet signal coming out of Recirculate.

SPEED

The speed of the DUCKING and GATE are controlled by this knob. Turn-
ing it up will make the ducker and gate act much more quickly, while
turning it down will slow down their action.

4.4.5 CHARACTER

The CHARACTER section allows you to add nonlinear processing and

noise in the feedback path. Instead of modeling specific old technolo-
gies we looked to them for inspiration and added a selection of process-
ing we thought sounded good.

ON/OFF BUTTON

The CHARACTER header incorporates an ON/OFF button that allows you

to deactivate the whole section and it’s processing.

DRIVE

The DRIVE knob controls the signal level into the nonlinear processor.
Turning it down will remove all distortion for most of the nonlinearities,
but BITE and DIRTY include some crossover distortion that applies at low
signal levels as well.

DRIVE SELECTOR

Underneath the DRIVE knob is a dropdown that allows you to select one
of 7 DRIVE CHARACTERs. These include:
NONE: The nonlinearity is disconnected and the DRIVE knob does noth-
ing. HOT: This is a clean, bright distortion with no inherent filtering. When
DRIVE is 0dB only the hottest signals will cause any distortion, but you can
generate significant distortion by turning it up. CRUNCH: This is a bright
distortion with meat on it’s bones. When DRIVE is 0dB only the hottest

27
signals will cause any distortion, but this turns into a crunchy, meaty dis-
tortion as you increase DRIVE. BITE: This is a very dirty, almost fuzzy distor-
tion with no inherent filtering. It has both a saturation character, which
means driving into it will create more fuzz, but also crossover distortion,
meaning that quiet signals are distorted as well. This has the effect of
truncating the repeats when the signal gets quiet enough, which can
be a nice effect. WARM: This is a smooth distortion, with a pleasant low-
pass characteristic reminiscent of several old delay technologies. With
DRIVE down there is no audible distortion, but it will become apparent as
DRIVE is increased. DARK: This is a crunch distortion with a strong lowpass
character. This creates a really nice vintage feel with either no distortion
(DRIVE at 0dB) or plenty (DRIVE increased). DIRTY: This is a very com-
plicated nonlinearity. It is both dark and bright at the same time, and
adds distortion to both quiet and loud signals in differing amount. Using
this with high FEEDBACK can create beautifully changing soundscapes,
but there’s a strong effect at all settings.

NOISE

Noise is inherent in the Universe, and therefore all old delay technologies
included at least one source of noise. The characters of this noise was
dependent on the technology used, and noise has often been critical
to the sound of echo effects. The NOISE knob on Recirculate allows you
to add noise in one of three characters.
NOTE: Recirculate’s NOISE knob is the only process in Recirculate which
adds any noise at all. You can always remove the noise in setting by
turning this knob all the way down.

NOISE SELECTOR

Below the NOISE knob there is a dropdown that allows you to select one
of 3 NOISE CHARACTERs. These include: GRIT: This is a signal dependent
that can sound a bit harsh. The noise is not constant, but added only
when signal is present. GRIME: This process mimics the noise created by
a tape machine. The noise is not constant, but added when signal is
present, and in a signal dependent fashion. This is a noise that softens
and smooths the signal. BIT: This is a classic bit reduction sound. HISS: This
is a classic hiss noise with a very little bit of signal dependency.

4.4.6 SOUNDSTAGE

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The SOUNDSTAGE section controls the aspects of Recirculate that add a
sense of depth and dimension to your sound.

ON/OFF BUTTON

The SOUNDSTAGE header incorporates and ON/OFF button that allows

you to deactivate the whole section and it’s processing.

SPREAD

The SPREAD knob adds a little bit of extra delay to the left channel delay,
and subtracts it from the right, or vice versa. Adding small offsets to the
delay time can increase the stereo image, and increase the diffusion of
the repeats.

XFEED

The XFEED knob changes the feedback structure of Recirculate allowing

the left and right delays to feedback into each other. When XFEED is
at 0% the left and right delays are totally independent. As XFEED gets
turned up the left delay feeds back into itself, but also into the right
delay, and the right delay feeds back into itself, but also to the left delay.
When XFEED is at 100% the left delay only feeds into the right delay,
and the right delay only feeds into the left delay, just like a ping pong
delay.

CHORUS

When Recirculate’s BEHAVIOR is set to STANDARD or PITCH WARP a CHO-

RUS and SPEED knob are present.
The CHORUS knob allows you to add some subtle modulation to the de-
lay creating a pleasant chorusing sound which gets stronger with each
repeat. The amount of detuning, and therefore the amound of per-
cieved chorusing effect is dependent on both the CHORUS amount and
the chorus SPEED.

SPEED

The SPEED knob controls the speed of the modulation LFO, and together
with CHORUS sets the amount of detuning. A fast SPEED and a low CHO-
RUS can sound very nice, as can a slow SPEED and a high CHORUS.
Turning both up can be a bit extreme, but still fun.

SPRAY

When Recirculate’s BEHAVIOR is set to GRANULAR a SPRAY and SIZE knob

are present.

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The SPRAY knob sets the amount of randomization in grain selection,
which causes the read head to jump around. When SPRAY is at 0 the
delay acts as a totally normal delay. As you turn it up the delay read
point jumps randomly around the set delay length. The higher SPRAY
goes the larger the jumps can be. This is what gives a granular delay its
sound.

SIZE

The SIZE knob sets the grain size. Small grain sizes can create a quite
noisy sound with SPRAY up, while larger grain sizes will allow discernible
chunks of audio to come out at random. 100 mS is quite nice, but have
fun.

REVERB

Natural echoes are never totally dry copies of the original audio re-
flected back at you, they always include at least a little diffusion smooth-
ing from the irregularities of the reflecting surface. This inspired us to add
a REVERB section to Recirculate that allows everything from the most
subtle smoothing to gigantic reverberant chambers.
The REVERB control sets how much of this reverb is blended in with the
dry signal and the DECAY control effects the length of that diffusion.
Different DECAY settings will change how perceptually "wet" the reverb
sounds, so the REVERB amount desired may be somewhat dependent
on the DECAY setting.

DECAY

The DECAY control controls the amount of reverberation happening the

in the reverb, essentially the length of the tail.
When DECAY is very low this doesn’t sound like a reverb at all, but just
a really subtle softening of the repeat. However, because this reverb is
inside a feedback delay each repeat is increasingly softened, creating
a very natural echo sound.
Turning DECAY up will quite quickly add diffusion to that echo such that
each consecutive echo gets longer and they quickly blend into each
other.
At around 50% DECAY the echoes cease to be distinct and the sense of
reverb takes over.
As you push DECAY up toward 100% the sense of distinct echoes returns,
but now bathed in an almost infinite wash of lush reverberation.
At any of these settings the amount of reverberation can be dialed
down using the REVERB knob.

30
Note: At some settings there can be a slight loss of energy in the re-
verberation algorithm, meaning that you might need to turn FEEDBACK
above 100% in order to get truly infinite feedback.

31
Chapter 5

Conclusion

We hope you enjoy Newfangled Audio’s Recirculate Feedback Echo

plug-in. If you have any questions, comments, or concerns please write
us at support@[Link]

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Chapter 6

About Newfangled Audio

The Oxford English Dictionary defines Newfangled as "objectionably new".

Music technology can sometimes be a backward looking pursuit. This
is understandable, the purpose of music technology should be to help
musicians make great music. There have been many great pieces of
gear in the past and we should seek to keep these pieces and make
them available to people who want to use them, and the time and
dedication required to master a musical instrument means that changes
in their design are often evolutionary rather than revolutionary.
However, the great pieces of gear from yesteryear are more often than
not those that contained new ideas in their time. The reverence we
have for these pieces can sometimes turn into fetishism, and mindless
re-creation of classic gear can fail to inspire musicians and artists to take
new risks. It’s important to make sure artists and engineers have access
to good tools that inspire them and don’t stand in their way, but these
tools should never be used as a security blanket to stand in the way of
an artist or engineers ears and taste.
Newfangled Audio seeks to only make gear that incorporates new ideas.
We want to make gear that is great, but only using ideas that others are
not. We realize that deviation from the norm might sometimes be ob-
jectionable. The Oxford English Dictionary defines Newfangled as "ob-
jectionably new".

33