# Fatalii's Drum Sample Slicer

> Slice a drum take into velocity-layered, round-robin sample sets — Mimic Pro / .mci / .dsnd / SFZ export, emulated mics with 8 room characters, Enes end fade, and Stunt Double Velocities. Published on AIMEAT by fatalii; served at https://fatalii-s-drum-sample-slicer.apps.aimeat.io. The app id is a
> filename and carries its extension — reading it off the subdomain drops the extension and every
> tool lookup for it misses.

## Documentation

- [This app](https://fatalii-s-drum-sample-slicer.apps.aimeat.io/): the running application
- [Agent orientation](https://fatalii-s-drum-sample-slicer.apps.aimeat.io/AGENTS.md): how to call this app
- [Site map](https://fatalii-s-drum-sample-slicer.apps.aimeat.io/sitemap.md): every document this origin serves
- [Full content](https://fatalii-s-drum-sample-slicer.apps.aimeat.io/llms-full.txt): this document, at the conventional full path
- [MCP Server Card](https://fatalii-s-drum-sample-slicer.apps.aimeat.io/.well-known/mcp.json): the server, transport and this app's tools

## Discovery

- [Tool listing](https://aimeat.io/v1/apps/fatalii/fatalii-s-drum-sample-slicer.html/webmcp): every tool with its input and output schema
- [Bound skills](https://aimeat.io/v1/apps/fatalii/fatalii-s-drum-sample-slicer.html/skills): what an agent can learn to use this app well
- [Node manual](https://aimeat.io/llms-full.txt): the AIMEAT node this app runs on
- [Node glossary](https://aimeat.io/v1/glossary.md): GHII, GAII, morsels and the rest
- [Get an identity](https://aimeat.io/auth.md): RFC 8628 device flow, owner-approved

## Identifiers

```
    owner:  fatalii
    app_id: fatalii-s-drum-sample-slicer.html        (not "fatalii-s-drum-sample-slicer")
```

## Tools

- This app publishes no priced tools.

#

v1.312

⌨ Keys
☰ Collapse all
🔈 Reset audio
↻ Reload

MODERN
CLASSIC

Turn one drum take into velocity-layered, round-robin samples — trimmed, tuned and named, ready for any sampler. Reads *and* writes **Pearl Mimic Pro .mci** (confirmed on the module) and **2box DrumIt .dsnd** instruments.

▶ Selected
▶▶ All soft→loud
BPM
⏹ Stop

Size

XS S
M L XL

Zoom

FULL MEDIUM
HIGH DETAIL START

↶ Undo
↷ Redo

## ? Start here

🎤 How to record your take — read this first

**Everything downstream is decided here.** The slicer can only be as good as the take you feed it — no setting rescues a bad one.

Record **one continuous take** of a single drum. **Any WAV loads** — 44.1 up to 96 kHz, 16, 24 or 32-bit float, mono or stereo. 48 kHz / 24-bit is a good default.

Mono is the usual choice for one drum. A stereo take dropped on its own stays stereo all the way through to the export. The one exception is a take that arrives as the **close mic of several** — a whole instrument, or a multitrack session: there the close mic is folded to mono, because it is the signal everything is measured and cut from and the width belongs to the overheads and the rooms, which keep every channel you recorded.

Play **7–9 hits at the same dynamic** — these become that velocity layer's round robins — then step up and play the next 7–9. Work from **very soft** up to **as hard as you play**, so the whole range is covered.

**Let every hit ring out.** Never damp or mute a tail: the slicer keeps the natural decay and fades each sample just before the next hit for you.

That's it — drop the WAV below. Aiming for a specific count? See the table in the full guide.

📖 Full user guide

### What this does

Record one long take of a single drum — soft hits building to hard — and this turns it into a complete set of **velocity-layered, round-robin samples**: trimmed, aligned, tuned and named, ready to map in any sampler.

Nothing else automates this part. Auto-samplers drive an instrument over MIDI and record what comes back — which is no use at all when the instrument is an acoustic drum and the trigger is a human arm. Mapping tools want your samples already cut. This is the step in between: it takes the take you played and hands you the finished set.

It all runs in your browser. Your audio never leaves your machine.

The app checks itself as it starts — a handful of measurements with a known right answer. If one of them fails, or something throws an error, it says so and offers you a report: the version, your browser, and what broke. **You read it first and you decide whether to send it**, by copying it or opening a mail. Nothing is ever sent on its own, and the report contains no audio, no file names and nothing about the material you are working on.

**Every section folds.** Click any numbered heading to collapse that step down to its title — so you can close what you're done with and keep the step you're working in front of you. **☰ Collapse all** at the top folds or opens them all at once. Each section remembers its state between visits. The deepest controls (global tune, the global start nudge and downtune quality, groove shaping, the demo's humanise & ring, the output format) sit in small **▸ sub-panels** inside their section, one click away when you want them.

### 1 · Record the take

**Tune first:** the 🎯 **Drum tuner** (top of the page) is a realtime Tune-Bot-style tuner — start it, hit the drum, and it reads the ring's strongest tone as Hz / note / cents plus the overtone. Tap near each lug to even them out, or set a Target Hz to tune to an exact pitch. Nothing is recorded.

One continuous WAV, mono or stereo. Every format the app exports also loads: 44.1–96 kHz at 16, 24 or 32-bit float. 48 kHz / 24-bit covers it for most work — higher rates mainly earn their keep if you plan heavy pitch work. Play a run of hits at one dynamic (those become that layer's round robins), then step up to the next. Go from very soft to as hard as you play, and let everything ring out.

How many depends on the drum:

**Drum** **Hits per level** **Levels** **≈ total**

Toms, percussion 7–9 6–12 45–110

Snare 10–16 10–16 100–250

Kick 4–6 5–8 20–50

Ride, hi-hat 8–12 8–12 65–145

Crash, china, effects 4–6 4–6 16–36

The **snare** earns the most work: it has the widest dynamic range (ghost notes up to rimshots) and it is the drum where repeated identical samples — machine-gunning — give the game away fastest. The **kick** needs the least: its useful dynamic range is narrow and round-robin variation is far less exposed.

**Cymbals and anything with a long ring:** leave real space between hits and let each one decay almost to silence before the next. In LONG mode the slicer waits for the ring to fall near the noise floor before it arms for the next hit — a fresh strike landing on top of a loud ring can be missed entirely.

### 2 · Load it

The load area takes four things:

- **One continuous take** (a WAV) — the classic path: it gets sliced by the analyser below.

- **Several separated sample WAVs at once** — select or drag a batch and each file becomes one slice, skipping detection. This is the way to re-open a set of already-cut samples and re-layer, round-robin, tune, add effects, or re-export them.

- **A whole folder of sample WAVs** — drag the folder onto the load area or use *choose a folder*; any sub-folders are searched too.

- **A .zip of sample WAVs** — same as above, straight from a zip. (A zip is auto-detected as either a sample pack or a saved session.)

- **A saved .slicer.zip** session — return exactly where you left off.

Only uncompressed **PCM WAV** decodes in the browser (44.1–96 kHz, 16 / 24 / 32-bit float, mono or stereo). MP3, AIFF and FLAC won't — export them as WAV first. If a file is refused, the load area now tells you exactly why. No recording handy? The **demo buttons** under the drop zone load a synthesised take — tom, snare, kick, ride or percussion — so you can try the whole workflow first.

### 3 · Settings

- **Instrument name** — becomes the file-name prefix (`YourSample_01.wav`). The app fills it in from your file or folder names; correct it here or at the export.

- **Take type** — **AUTO** measures how long your hits ring and picks SHORT (toms, snares) or LONG (cymbals, effects, reverb), then shows you which it chose. Override only if it guessed wrong.

- **Advanced** — detect threshold, minimum gap, max sample length, stray rejection. The defaults are tuned against real takes; leave them alone unless something looks off.

### 4 · Analyse

Finds every hit, aligns each one precisely to its attack, and colours them green (softest) to red (loudest). Each sample automatically runs to just before the next hit and fades softly there — so nothing clicks, and no decay gets chopped.

### 5 · Review & pick

- **A multitrack take** — a WAV with three channels or more is not a stereo take, it is a session, so the import stops and asks which channel is which microphone. A WAV carries no names for its channels; that is the one thing it cannot tell the app, and guessing wrong would misalign a whole kit. The usual layout is filled in from the channel count (close mic, then overheads, close room, far room, and a third room if there is one) and any row can be corrected, set to mono or stereo, or switched off. **Name the close mic** — that name is the zone, because the close mic is the thing you hit, and it names the exported files.

- **Or drop the takes as separate files** — one WAV per microphone, which is how a DAW hands a session over. Drop them together and the same question is asked in a table: which file is which. Pick the **instrument** at the same time (tom, snare, kick, percussion, cymbal) and **name each position**; those names go on the exported files.

- **Two close mics** — a snare top and a snare bottom — are handled. The top is the **master**: it is the take that gets analysed, detected, sliced and shaped. The bottom is a position like the rooms, cut at the master's own points and never re-timed, and it has an **invert Ø** tick. That is polarity, not phase: a mic under the drum looking up at the wires produces a waveform that is upside down against the top mic, and summing the two partly cancels them. Multiplying by −1 is exact; a phase shift would be frequency-dependent and would smear the attack. Measured on a real pair: summed peak 0.27 without the tick against 0.29 for the top mic *alone* — the bottom was making it quieter — and 0.39 with it. Every position has the tick, because a room can need flipping too.

- Every other position then **replaces the model** for that mic, and the **Source** switch on each one flips back to the emulation so you can hear them side by side. They are cut at the close mic's own points, so every trim, every repair and every **,** **.** keypress moves them by exactly the same amount — and **the time between them is never touched**. The import measures how late each position arrives and tells you (an overhead 1.3 m up arrives about 3.8 ms after the close mic — that is the distance, and it is what makes a kit sound like a room), but it does not correct it: the relationship you recorded is the one you keep. Hundreds of milliseconds would mean the tracks are not from one pass.

- **Whole take — include the full-length tracks** (in the export card, off by default) — not a sample pack but the **source**, in the **same zip** as the samples. A **Take** folder holding the close mic under the name you gave it and every mic position you have switched on, each at full length, exactly as they were recorded against each other. Nothing is re-timed and nothing is trimmed to fit — channels are padded to the longest, because shortening one to match another is precisely the re-timing this exists to avoid. Drop the folder on a DAW timeline and every track lines up at zero.

- The same take also goes in **interleaved**, as one multitrack WAV, and that is the file to drop back onto the load area to open the whole session again with every microphone in place. Modelled positions are rendered over the whole take rather than hit by hit, so a recording that only ever had a close mic comes out as a real multitrack session — which is how you make multitrack material to work with. Verified by doing the round trip: 14 hits and three positions out, 14 hits and the same three arrival times back.

- Only the **close mic** is sculpted. Drum size, match EQ, stack, bend and the shaping tools exist to reshape a close mic, and imposing them on a real overhead would invent something the microphone never heard. Tuning and per-hit level DO follow, or a drum tuned down would carry an untuned room and the two would drift apart into different drums.

- **Click a tile** to hear it. **A** keeps it, **D** discards it. **Show** opens on **Kept**, so a discarded sample leaves the grid completely — it is not shown, not stepped onto by the arrow keys, not caught by a range selection and not audible. Nothing is lost: **Discarded** is a real view where you can listen to what you threw out, and **A** there brings it straight back.

- **Pick several at once** — shift-click for a range, ⌘/Ctrl-click to add or remove one, ⌘/Ctrl+A for all, Esc to clear. A or D then acts on the whole batch as a single undo step. A batch only ever covers what the current **Show** is displaying, so nothing off screen can be changed by a key you pressed while looking at something else.

- **Reorder** — drag a tile by its ⠿ grip, or nudge it with ◀ ▶. The order sets the export numbering.

- **Tune** — the +/− on each tile, or the **+** and **−** keys, in cents. Hold **shift** for steps of 10. With several selected they all shift by the same amount and each keeps its own offset.

- **Auto-tune** (in **Tuning**) — a drum has no single pitch: its head rings at inharmonic modes, which is why ordinary pitch trackers jump around on toms. This works the way hardware drum tuners do instead: it finds each hit's **fundamental drum tone** (the strongest low spectral peak of the ring, after the transient), takes the take's consensus, then re-measures every hit only *near that tone* and tunes the small offset away — so corrections stay small by design and an octave jump can't happen. **Tune to** either **MATCH** (the take's own tone — keeps the drum's natural note, just consistent) or **NEAREST NOTE** (snaps that to the closest semitone). Hits with no clear tone are left alone, so an inharmonic take (snare, hats, most cymbals) reports nothing to tune rather than being mangled. Undo reverts it. **It works well on some drums and not on others** — always finish by ear: listen, then fine-tune by hand where needed.

- **Size L or XL** also shows each hit's detected pitch, its note, and how many cents it sits from the take's reference — so you can see what's worth tuning by hand. Hits flagged beyond ±250¢ read unreliably (drums are inharmonic); don't trust those numbers.

- **Tighten starts** — the **Starts** row reports how many samples pass before the hit actually arrives, worst and typical. A take sliced here lands on 1–3. An **imported** instrument, or a session cut by a version before v1.210, will not: it carries dead air on some samples and a chopped attack on others. The button re-runs the current start analysis over every sample and fixes both at once. It is offered in the Quick setup row too, on the same terms as Sort by velocity, whenever the material needs it. Stunt doubles and any start you moved by hand are left alone.

- **If a start comes out wrong, the app repairs it — and if it cannot, it says so.** The analysis aims for 1–3 samples of head; on the six reference takes it holds that on 476 hits out of 477. Past **5** it is not a near miss, so the app measures the head in front of that sample and removes it — but only after checking the move: what it would discard has to sit under −25 dB of the hit’s own peak, and the head really has to come down. Anything else is put straight back, because cutting into an attack is a far worse mistake than leaving a few samples of silence. Measured by breaking every cut on all six takes and asking it to undo the damage: it repairs 86–89 %, lands a median of 2 samples from where the analysis had it, leaves the first exported sample about 8 dB *quieter* than the analysis did, and has never cut late.

- Whatever it **could not** repair safely gets a red bar naming how many and how bad, a ⚠ flag, the **START** zoom, and the worst one selected and scrolled to — **,** and **.** then move its start one sample at a time, so in the worst case you can finish it by hand. Either way it goes into the self-check report so it can be fixed properly; sending that report is still your decision, made after reading it. And none of this is ever said about material the analysis did not just cut — it runs on a fresh Analyse or on Tighten starts only, because an imported instrument starts wherever its author cut it, and calling that a bug in this app would be a lie.

- **Hold B** — hear the selected sample **raw**: as recorded, with no tuning, no effects, no mics and no level sculpt. The other half of "is this better?".

- **Home** and **End** jump to the previous / next **velocity layer**, so you can get from the softest end of a set to the hardest without holding an arrow key through seventy samples.

- **Size and Zoom sit together** in the view strip above the tiles, with **Show**, the state of the set, and the **Starts** readout. Everything that decides what you are looking at is in one place. **Waveform only** hides the text rows and leaves the pictures, for going through a set quickly by ear.

- **Zoom DETAIL and START** reveal the onset nudge. The single arrows move the start **one sample** (or press **,** and **.** — hold shift for ten), the double arrows move it 0.2 ms, and clicking the sample count puts it back where the analysis placed it. Every waveform is drawn over a **baseline** so you can see whether a start sits at zero, and the close-up views print **lead** — how many samples pass before the hit reaches −40 dB.

- **Play it** — number keys **1–0** trigger five dynamic zones with random round robin.

- **Order** — **PLAYED** keeps the recording order, **BY VELOCITY** sorts soft → loud, and **ANTI M-GUN** goes one further: soft → loud, but the round robins inside each layer are re-sequenced by *spectral* difference so consecutive repeats sound as unlike each other as possible — the machine-gun effect dies. It also warns if a layer contains two nearly identical hits. Drag tiles for a fully manual order.

- **Play all kept** runs through every kept sample in order; press it again to stop. On a long take that is mostly decay, so set **Length** to 1/2, 1/5 or 1/10 to get through it quickly — it shortens the audition only, never the exported files.

- **Grooves** — six patterns, each leaning on a different part of the set: **1** backbeat, **2** ghost-note 16ths (the soft round robins), **3** a ppp→fff build with a fill, **4** shuffle, **5** half-time with room to ring, **6** linear funk. Plus **CRESC**, **ROLLS**, a swelling **BUZZ** roll and **RANDOM**. All humanised, and all using the exact tuning and fades that will be exported.

### 6 · Map & name

- **Plain** — `name_01` … `name_NN`, soft to loud. A straight series most samplers will map across the velocity range for you.

- **Velocity × round robin** — tick it to name files `name_VV_RR` (velocity first, then round robin): the layout Kontakt, SFZ, Decent Sampler and the Pearl Mimic Pro all expect. Set **round robins per layer** to however many hits you played per dynamic. The **Layer Map** then warns about layers with too few round robins, or a big loudness jump between layers.

- **Also write an .sfz** — hands you a finished instrument rather than a pile of files. The velocity layers and round robins are already mapped, so sfizz, Decent Sampler, Bitwig, Cakewalk or any other SFZ host opens it and plays. Set **MIDI note** to wherever the drum belongs on your kit. Ticking this always produces a zip, since the `.sfz` and its sample folder have to travel together.

- **& a DecentSampler .dspreset** — the same instrument as a native DecentSampler file (free player). Tick it alongside or instead of the `.sfz`; both share the same **MIDI note** and both ride in the zip next to the sample folder. DecentSampler can also import the `.sfz`, but its own `.dspreset` loads cleaner.

- **📄 Spec sheet** — a printable one-page document of the finished library, saved as an HTML file you can open anywhere and print (or save as PDF) with Ctrl/Cmd + P . It lists what the kit contains, the **velocity map** (layer, MIDI velocity range, round robins, level range, file names), the **kit's tone** averages, and every sample with a waveform thumbnail, length, peak, RMS, tuning and any QC note. Everything is measured from the **finished slices** — effects and tuning included — so it documents the files you are shipping, not the raw take. Send it with a library, or read it in six months when you have forgotten what you did.

### 7 · Analyse & build

Its own step below Map & name — a read on the whole set, all from the same loudness (`rms dB`) the colours and layers use, plus the tools to reshape it and to build the samples you didn't record:

- **QC pass** — scans every kept slice and flags the suspect ones so you audition only those, not all of them: **clipping**, a **possible double-trigger** (two hits caught in one slice), a **very short** slice crowded by the next hit, a **level outlier** sitting far from the rest of its velocity layer, and a **late start** — more than 5 samples of head before the attack. Flagged tiles get a ⚠ corner badge (hover for the reason); click any item in the panel to jump straight to that sample and listen. It never deletes anything — a flam you meant to play and an accidental double-trigger look alike in the data, so QC points your ear and you decide.

- **Dynamic map** (default) — every kept hit plotted in recording order against its loudness. A clean soft-to-loud take climbs steadily; plateaus or big jumps show where coverage is thin or uneven. **It's also an editor:** **drag any dot** up or down to set that hit's level (a faint stem shows how far it moved from where you played it). Drag across empty space to **box-select** a run, then move them together. The buttons below the map: **Even out layer** snaps a velocity layer's hits to their shared median so round robins sit together; **Draw sweep** lets you sketch a target level and the hits you drew over conform to it — *only* that span, so a short flat line levels one jumpy patch and leaves the rest of the take exactly as it was (drag right across the plot to reshape the whole thing, as before); **Reset levels** returns the selection (or everything) to as played. It's all non-destructive — the level flows into the colours, the layers, QC, the demo and the exported WAV, and Undo takes it back. A hit whose level you changed shows a small **▲/▼** amount on its tile.

- **Velocity histogram** — how the hits spread across loudness, with the count on each bar and dashed velocity-layer edges. Clusters and gaps show at a glance.

- **Layer balance** — round robins per layer with each layer's dB range; ⚠ marks a thin layer (may machine-gun) or a big loudness jump between layers.

- **Decay times** — how long each sample rings (peak → −14 dB). A tight cluster means consistent tails; a low outlier may be choked or cut short. **Punch** — peak against rms for every hit: sitting high above the pack is a punchy transient, and any dot on the red 0 dBFS line is clipping.

- **Spectrogram** — the selected sample as time × frequency, so you can *see* what a waveform hides: flat horizontal lines are ring modes (the boxy tone you may want to tame), a haze under the tail is noise or bleed from another drum, and two round robins tuned apart show their lines at different heights. Click any tile to switch sample.

- **RR overlay** — every **round robin of one velocity layer** laid on top of each other. A sampler fires these in turn for the same key at the same velocity, so they ought to be near-identical — this view makes the one that isn't jump out. The top panel overlays the **waveforms** aligned at their start, at true relative level with polarity kept: a round robin that sits louder or quieter, one whose attack tick lands late (a loose trigger), or one flipped upside-down (a polarity slip) is obvious. The bottom panel overlays their **spectra** on a log-frequency axis, where a round robin tuned apart shows its peak at a different height. It reads the layer of whichever tile is selected — click another tile to move to its layer — and flags a likely polarity flip or an off-tuned round robin underneath.

- **Tone fingerprint** — five perceptual descriptors of every hit on their own lanes: **Brightness** (spectral centre), **Warmth** (low-mid weight), **Punch** (crest / transient), **Sustain** (ring length) and **Grit** (tonal ↔ noisy). See your kit's character and its spread at a glance, and spot a hit that sits far from the pack — click a tile to spotlight it on the lanes. Relative within the kit, not an absolute measurement.

- Scroll to **zoom** the dB axis on the first two views, double-click to reset. The **stat chips** read out detected / kept / discarded counts, dynamic span, quietest and loudest kept, median level, noise floor, take length, and the source rate / bit depth / channels.

- **Tame clipping on export** — an optional switch that pulls any slice reaching 0 dBFS back to −0.3 dBFS, so a hot take doesn't ship clipped samples. Off by default; the QC pass shows you which ones clip.

- **✦ Stunt Double Velocities** — on the bar **under the sample grid**, because a thin layer is something you notice looking at the tiles. A hand-played take is always short somewhere: a velocity layer with only two or three round robins (which **machine-guns** on repeats), or a gap in the dynamic range you never hit. This builds the strokes you never played out of the ones you did, and every part of every new hit is real audio from this take — what is invented is the **combination**. Each new hit gets its own seed, and everything is drawn from it: the whole hit is detuned by a couple of cents **by stretching** (not a pitch shifter, which would smear the attack), the three bands shift a little in **balance and decay** — what a stroke nearer the centre, or harder into the head, really changes — the head comes from one stroke and the tail from another, slid into step with it and level-matched across the join, and the brightness follows the curve **this drum** actually shows when it is hit harder, fitted from your own hits. The bands are never detuned against *each other*: two bands overlap, so they carry the same frequencies, and sliding those two copies apart is how a flanger is built — which is exactly what the first build sounded like. One seed per hit means every microphone gets identical numbers, so the kit stays together. Nothing is added until you say so: **Roll a new set**, **Hear one it made** against **the played one next to it**, or play **🎮 Spot the fake** — four hits at one level, one of them made up — and then **Keep them**. Kept hits are normal kept samples: they colour, QC, play and export like the rest, wear a **✦** on their tile and a ring on the map, and **Remove them** or Undo takes them back.

### 8 · Export

- **Output format** — collapsed to one line showing what will be written; open it to change the rate and bit depth. **KEEP ORIGINAL** converts nothing, which is what you want unless your target demands otherwise; recorded at 96k or 192k, it stays there. Most libraries ship 44.1 or 48 kHz at 24-bit. **16-bit** is dithered. **32-bit float** is the app's own internal format written straight out, unquantised — check your sampler takes it. **44.1 kHz + 24-bit** is what the Pearl Mimic Pro **Instrument Editor** accepts — it only imports 44100 Hz files. The catch: the Mimic's playback engine runs at 48 kHz, so a plain 44.1 kHz sample comes out about 1.5 semitones sharp on the module. The open question is *where* that sharpening happens: the desktop **Editor's preview** may resample wrong while the actual **module brain** plays the 44.1 kHz sample just fine. So it is off by default. If a test on your real module shows samples playing sharp, tick **Compensate pitch for the Mimic's 48 kHz engine**: the app pre-warps the audio so it lands in tune on the 48 kHz engine while the file stays a 44100 Hz WAV the Editor imports. If the module already plays plain 44.1 kHz in tune, leave it off. Soft samplers (Kontakt / SFZ / Decent Sampler) read the rate from the file, so leave it off for those too.

- Whatever you pick, **the pitch is exactly what you tuned here**. A rate conversion rescales the sample count in step with the rate, so each slice keeps its duration in seconds — and pitch is duration. Verified across every rate and depth to within a hundredth of a cent.

- Five files or fewer download individually; more arrive as a zip.

### Effects (optional — baked into the export)

An optional chain you hear **live** everywhere you audition — tile clicks, **Play all**, grooves — and that is **printed into the exported WAVs**. Use it only for character you do *not* plan to add later in your sampler. Everything is off by default; **▶ Test** plays the selected sample through the current chain, **All off** clears it, **Panic** stops all sound and any ringing tail. The panel is split into **Colour & space** (on the shared master bus) and **Per-sample shaping** (baked into each hit, and what **FX amount by velocity** scales), each showing how many are on. Each effect's settings are **collapsed** — the checkbox beside the name switches it on/off; **click the name** (or the ▸ arrow) to open its controls when you want to dial it in.

- **Presets** — the bar at the top loads a whole chain at once. Pick a **factory** starting point (808 Drop, Lo-Fi Tape, Gated Room, Vintage Drive, Robot Ring, Wah Funk, Spring Surf, Cathedral) then tweak. **💾 Save…** stores the *entire* current chain — every effect and setting — as your own preset (kept in this browser); **Delete** removes one of yours.

- **🎤 Record the take yourself (beta)** — in **Load take**. Record straight into the slicer from an audio interface, with **every mic at once**: the close mic that gets sliced, plus real **overheads**, **close room** and **far room**, each mono or stereo. Press **Detect channels** to see how many inputs the browser will actually give you (more than two needs a real multi-channel interface), assign each mic to its channels, and record. Because the tracks are captured together they are **sample-aligned by definition**, so the hits found in the close mic cut every other track at exactly the same points — there is no drift to line up. A recorded position **replaces the emulation** for that position and nothing else, so recording only the overheads and letting the model build the rooms works fine. On a recorded mic only the per-hit gain and the tuning are applied, never the close-mic sculpting tools (shape, size, match EQ, stack, bend) — those exist to reshape a close mic, and imposing them on a real overhead would invent something the microphone never heard.

- **🎙 Overheads & room mics (beta)** — in **Export**. Each position holds either **your own recording** of it (if you captured one in step 1) or a **model** of it built from the close sample, and a **Source** switch on that mic flips between the two so you can hear them side by side. A recorded position wins by default, and nothing is discarded either way. What follows describes the model. Each pair has a **Pair** and a **Pattern**. **Pair** is real geometry, not a preset name: **AB** spaces the mics and images purely by arrival time (biggest and widest, least mono-safe, and the only one where the **Spread** slider is yours); **XY** puts them in the same place crossed at 90°, so there is no time difference at all and it folds to mono perfectly, imaging by level alone (±4 dB at full pan); **ORTF** is 17 cm at 110° and **NOS** 30 cm at 90°, both giving time and level together. **Pattern** changes how much room the mic hears as well as its tone — an omni gathers three times the diffuse energy a cardioid does, so the identical position comes out about 5 dB wetter; figure-of-eight rejects the sides and picks up the back in reverse polarity. Your samples are close mics; a real kit is close mics *plus* overheads *plus* room mics, and that blend is most of why a recorded kit sounds like a room instead of a sampler. This builds the extra mics from the close sample **acoustically**: a shoebox room (**TIGHT** / **STUDIO** / **LIVE** / **HALL**, with **Size** and **Damping** on top), mirrored copies of the drum for every reflection path, and cardioid pairs aimed at the kit. Because each mic has a real position it arrives **late by exactly the time sound takes to travel there** — 3–4 ms for the overheads, ~7 ms for the close room, 14 ms+ for the far room — and the two channels of a pair genuinely differ because they stand in different places. **Position in kit** is a real place, not a pan pot: move a tom off centre and it reaches one overhead first, exactly as it would. **Spread** is the mic spacing, so widening it widens the image honestly. **Low cut** matters more than it looks — distance mics gather low end a close mic never had — and **Squash** is the room compressor whose pumping tail-lift is the classic room sound. Mix it all with the faders and press **space** to hear the blend. Then pick how you want them, at the top of the panel: **as separate sample sets** writes each mic to its own folder — called what you called that mic, with the close samples in a folder named after the close mic itself — numbered to match the close files one-for-one so they layer onto the same pad, leaving the close samples dry for you to balance later; **baked into the samples** mixes the blend straight in, giving one finished stereo sample per hit — and that one also applies to `.mci` and `.dsnd`, and to the showcase demo (whose own Room is bypassed, since the mics bring a real one). Tick both if you want both. **Tick neither and none of it is used anywhere** — those two boxes are the on switch. Marked beta: the model is measured and validated, but a model is what it is — which is exactly why the Source switch exists once you have recorded the real thing.

- **The effects** — reverb (room/plate/hall/gate/spring), delay (echo / ping-pong / tape, tail up to 10 s), chorus, flanger, phaser, drive, bitcrush, ring mod, auto-wah, tremolo, octave fuzz, resonator and a formant/vowel filter. Each has its own mix so you can dial it in.

- **MINE reverb — your own room (or any sound) as the space** — pick the **MINE** preset and either **🎤 Record room** (allow the mic, then give one sharp hand clap — the app trims the capture to a clean impulse) or **📁 Load IR** to use *any* WAV as the impulse: a cymbal ring, a slammed door, a synth chord. Your drum then reverberates *through that sound*. Length crops the tail, Tone darkens it, and the impulse is saved inside the session so it comes back exactly.

- **Shape** — splits every hit into three components and lets you rebalance them: **Snap** (the stick attack), **Body** (the tonal ring of shell and head) and **Air** (wires, sizzle, room air), each −24…+12 dB. More punch without EQ, a fatter or tighter drum, a darker or wirier tail — and at 0/0/0 the sound is untouched. Baked per sample, like Pitch bend.

- **Ring tamer** — kills the one overtone that **rings too long**: the boing over a tom, the boxy 400 Hz on a snare, the ring you would reach for tape to fix. Press **🔍 Detect** and it finds the mode that still stands out of its neighbours *late* in the decay — deliberately searching above the drum's own tone, because that is the note, not the problem — then set **Depth** by ear. What makes it different from notching the same frequency in the Graphic EQ: that cut is on all the time, and it takes the drum's body with it (which is why taped drums sound dead). This notch is **dynamic** — it stays open while the stick and the broadband body are sounding, and only closes once the ring is carrying the sound alone. **Width** is the notch width in octaves, **Keep attack** holds it fully open for the first few milliseconds. It ignores **FX amount by velocity** on purpose: a soft hit's ring is just as ugly as a loud one's.

- **Drum size & material** — a small physical drum modeler. Set a target **Diameter** (6–50″) and **Depth** (1–50″) in inches: a drum's tone is roughly inversely proportional to its diameter, so doubling the target drops the ringing body an octave (and lengthens it) while the stick attack stays exactly as recorded — a 12″ tom can become a 20″ without the slowed-down-tape smear. The sliders start at the app's **estimate of the current drum** (shown under them), so moving them resizes from there. **Shell material** — WOOD (neutral), ACRYLIC (loud/punchy), FIBERGLASS (tight/dry), ALUMINUM & STEEL (bright, metallic, longer ring), BRASS (warm + bright) — applies that shell's tonal signature and, for metals, a little extra ring. **Dampening** is moongel/tape: it shortens the ring for a tighter, drier drum. **Ring boost** is the same tail-sustain lift as the standalone effect, here per drum. **Snare mat (beta)** adds synthesized snare-wire buzz gated by the drum's own envelope, so any tom — or even a kick — picks up a snare-ish rattle. All of it bakes into the exported samples, and the attack never smears.

- **Match EQ** — make your drum's tone sit like a reference. Load any sample whose sound you're after (a commercial one-shot, an old favourite); the app compares its spectrum to your kept hits and computes a correction EQ (capped at ±12 dB, loudness untouched), then bakes it into every sample. **Amount** scales it from subtle to exaggerated (200%). The learned curve is saved with sessions *and* effect presets — so a matched tone can be stamped onto any future kit.

- **Stack layer** — the studio "reinforcement layer": load a second sound (a sub-boom, a clap, a noise crack, a bigger drum) and it's **peak-aligned to every hit's transient and mixed in underneath**. **Level** sets how loud it sits, **Tune** pitches it to the drum (e.g. a sub to the kick's note), **Tone** tilts it dark (a sub) or bright (a snap), and **Align peaks** keeps the stack phase-tight. **Follow vel** makes the layer track each hit's own dynamics so the balance holds at every velocity (at 0% the layer sits at a fixed level and flattens the kit), and **Vary** nudges every hit's layer a little in pitch and level so repeated stacked hits never sound like clones. Build a kick+sub or snare+clap without leaving the app; the layer is saved in the session. Baked per sample.

- **Graphic EQ** — a 31-band ⅓-octave graphic EQ (the same ISO centres as hardware units), ±12 dB per band. Drag a bar, or sweep across several to paint a curve; double-click zeroes a band, **Flat** resets all. Applied as a zero-phase filter, so the response is *exactly* the curve you drew — no band interaction, no phase smear, and the white line shows the true applied response. Baked per sample.

- **Pitch bend** — a per-sample pitch envelope (the tom / 808 drop or a riser), baked into each hit. **Bend** sets the depth (far more range down than up), **Start** where the drop begins near the transient, **Fall** how fast it slides, **Start pitch** offsets the whole sample. **Ring boost** lifts the quiet low tail so the drop is clearly heard, and **Ring length** time-stretches that boosted low ring so it sustains longer — a long, natural boom. A stretched sample auto-trims any dead air at the end and fades out over up to ~3 s.

- **Ring boost** — the same tail lift as Pitch bend's Ring boost, but **standalone — no bend needed**. It upward-compresses the sample: the quiet decaying ring is pushed up toward the peak while the attack is only gently tamed (never ducked), so a dead tom or a choked cymbal **rings on**. **Amount** sets how hard — measured, a 70% setting lifts the tail about +17 dB while the attack barely moves. Baked per sample, and it follows **FX amount by velocity**.

- **FX amount by velocity** — at the bottom of the panel. A real drum doesn't just get louder when you hit it harder; it brightens and bends more too. Tick this and the amount of **Shape**, **Match EQ**, **Graphic EQ** and **Pitch bend** follows how hard each hit was struck — the loudest hit gets the full setting, ghost notes stay clean. **Depth** sets how far the amount falls away on soft hits (100% leaves the softest completely dry). The live-chain effects (drive, crush, reverb, delay…) stay even because they run on one shared bus — that is what keeps what you hear and what you export identical. **Stack** has its own *Follow vel*.

- **Stacking is safe** — effects run in series, so many at once would normally get too hot and crackle; the app **auto gain-stages** the effected signal so it stays clean. The trade-off is that a big stack plays a little quieter — raise the master volume to taste.

### Save your work

**💾 Save session** writes a **.slicer.zip** holding your original take plus every decision — keeps, discards, tuning, order, nudges, **and the whole effects chain**. Drop it back on the load area any time to resume exactly, with no re-analysis.

**↻ And you no longer have to remember to.** Every edit is kept in this browser as you work, and so is **the take itself**. Come back after a crash, a closed window or a restart and the load area offers **↻ Pick up where I left off** — one click, no finding the file, and you are exactly where you were: keeps, discards, tuning, nudges, order and effects.

Why keep a copy of a file you already have? Because a web page cannot reach back into your disk. It only ever receives the bytes you hand it, and it is never told where they came from — that is a security boundary of the browser, not a shortcut this app skipped. Chrome can be granted a lasting handle to a file; Safari cannot, and Safari is where this problem showed up. So the take is stored where it does no harm: **on disk, not in memory**, one take at a time, replaced by the next one you open, refused above 200 MB, and erased by **Forget it**.

If the take is gone but the decisions are not — a different browser, or storage cleared — open the same audio again and they still come back by themselves, with **Start fresh instead** right there if you wanted a clean slice. It has to be the same audio: sample rate, length, channel count and a checksum of the take all have to match, so another drum’s decisions can never land on this one. **Nothing is uploaded, ever.**

### Keyboard shortcuts

Space play the selected sample

← → previous / next sample

↑ ↓ row up / down

shift + arrows extend the selection

A / D keep / discard — the whole batch if several are selected

R play all kept

1 – 0 trigger the five dynamic zones with round robin

+ − tune the selection by one cent — hold **shift** for ten

[ ] zoom out / in

E export

⌘/Ctrl + A select all

Esc clear the selection

⌘/Ctrl + Z undo · ⌘/Ctrl + Shift + Z redo

Enter start / stop the take in the recorder — findable from behind a kit

N while recording: move the coach on to the next dynamic level

### If something looks wrong

- **“This webpage was reloaded because it was using significant memory”** (Safari) — a take is a big object: one minute of 44.1 kHz mono is about 10 MB once it is decoded, and a stereo take is held three times over (left, right, and the mono sum every measurement uses). v1.222 halved what is held — the decoded copy of the take was being kept alongside the working copy for the whole session, and read by nothing — so this is rarer now. It cannot be made impossible: no browser publishes the line it kills a tab at. **What it costs you is nothing any more**: your decisions and the take are both kept as you work, and one click on the load area puts you back exactly where you were. Long takes are still the thing to watch — the self-check panel reports exactly how much is being held.

- **Sound gone silent** — press **🔈 Reset audio** (top of the page). It rebuilds the audio engine and confirms itself with a short beep. Safari in particular can strand a page's audio after the output device changes (headphones connect or drop, the display sleeps) or after long idle; the reset recovers every case a page can recover. If even the beep stays silent, Safari's own audio process is stuck — reload the page first, and only quit and reopen the browser if a reload doesn't bring it back.

- **Hits missed** — lower the detect threshold, or shorten the minimum gap.

- **One long ring chopped into several slices** — force take type **LONG**.

- **Several hits stuck inside one sample** (a long-ringing drum — rototoms, high-tuned toms) — fixed in v1.142: the detector now spots a stick attack by its high-frequency transient, so a strike landing on a still-ringing drum starts its own slice. If a few still merge, shorten the **minimum gap**; if hits are very soft, lower the **detect threshold** too.

- **Quiet hits marked AUTO-STRAY** — they were far quieter than their neighbours. Press A to keep one if it was real, or set stray rejection to 0 to switch the check off.

- **Samples sound cut short** — raise max sample length, or leave more space between hits when recording.

🖨 Print / Save as PDF
⬇ Download guide

🎯 Drum tuner — tune the drum BEFORE you sample it

A realtime tuner (Tune-Bot style): start it, hit the drum, and the strongest tone of the ring is read out as Hz, note and cents — with the overtone beside it. Tap near each lug to even them out, or set a **Target** to tune to an exact pitch. Nothing is recorded.

🎤 Start tuner
Target Hz (0 = off)

—
hit the drum…

## 1 Load take

Drop a WAV, a .mci or a .dsnd here

One take, a batch of samples, a saved session — or a finished module instrument: **Pearl Mimic Pro .mci** and **2box DrumIt .dsnd** both open here, and both can be written back out. You can drop a file anywhere on the page.

Drag files or a folder onto this box, click to pick files, or choose a folder .

- **One continuous take** — softest hits first, building to hardest. The classic path: it gets sliced, layered and round-robined for you.

- **A whole instrument at once** — several long takes in one drop, each holding **one articulation** (centre, edge, rimshot, cross-stick…) with its own microphones alongside it. They arrive as zones you switch between, and nothing is decoded until you open one, so a snare of twenty-eight files drops in as fast as a single take.

- **Several separated sample WAVs at once** — select or drag a batch, and each file becomes one slice you can re-layer, round-robin, tune, add effects to, and re-export.

- **A whole folder of sample WAVs** — drag the folder in (or use *choose a folder*); sub-folders are searched too.

- **A .zip of sample WAVs** — same as above, straight from a zip.

- **A saved .slicer.zip session** — pick up exactly where you left off.

- **A Pearl Mimic Pro .mci instrument** — drop one in and its samples come straight back, full length, with their velocity layers and round robins intact. If the instrument has several articulations (a snare's centre, rimshot, cross-stick…) you pick which one to import.

- **A 2box DrumIt .dsnd sound** — same idea: open the whole sound to edit and save it back, or bring one articulation (head, rim, bell, bow, edge…) into the slicer to re-cut, tune or process.

Naming and packing a whole instrument — examples

**Name each file after the articulation first, then the microphone**, with a separator between them — a hyphen, an underscore or a space, whichever you already use. The first part becomes the zone name; the rest is read for the microphone.

center-snare_top.wav edge-snare_top.wav
center-snare_bottom.wav edge-snare_bottom.wav
center-room.wav edge-room.wav
center-overheads.wav edge-overheads.wav
Capitals make no difference — Room and room are the same file to it — and a name may hold several words. off_center-Overheads.wav , Cross Stick-Room.wav and edge_rimshot-snare_top.wav all read correctly, including the last one, whose zone name begins another zone's.

Words it knows for the microphones: top , close , centre or spot for the close mic; bottom or underside ; overheads or OH ; room ; far or ambient .

**Packing:** one file per microphone per articulation, and each of those a single continuous take with that articulation's hits in it — softest first, building to hardest, exactly as for one take on its own. Drop them all together, or drop the folder. Only the close mic is opened; the others stay on disk and are cut at the close mic's own points, so the distance between them is never touched.

**None of this has to be exact.** The names only decide where the app starts. Every zone name and every microphone is a box you can change once the files are in, and anything the names could not settle is shown to you rather than guessed at — if you know what each file is, you can say so in a few seconds.

Any PCM WAV: 44.1–96 kHz, 16 / 24 / 32-bit float, mono or stereo. **Not** MP3/AIFF/FLAC — export those as WAV first. .mci import works in any modern browser (it fetches a small unzip helper on first use, so you need to be online the first time); .dsnd needs nothing at all.

This Mimic instrument has several articulations — pick one to import:

Cancel

🎤 Record the take yourself — close mic + overheads + room, all at once **BETA**

Record straight into the slicer from an audio interface, with **every mic at once**: the close mic that gets sliced, plus real **overheads**, **close room** and **far room** — each mono or stereo. Because they are captured together they are **sample-aligned by definition**, so the hits found in the close mic cut all the others at exactly the same points. A recorded mic set **replaces the emulation** for that position: the emulator exists for when you only have a close mic, and the moment you have the real thing it wins.

Input device

🔍 Detect channels

Pick a device and press **Detect channels**. Browsers only hand over more than two inputs from a real multi-channel interface, so that is what decides how many mics you can record at once.

My setups
— saved setups —
💾 Save…
🗑 Delete
which input is the overhead left, which is the far room — dial it once and recall it. Kept in this browser.

**Guide me while I play**
Instrument

Tom Snare
Kick Ride
Crash Percussion

Dynamic levels

auto
5 6 7
8 9 10
11 12

Hit threshold
ignore the room ◄

► catch ghost notes
—
🎧 Listen to the room

▶ Test hits
—
Reset
the threshold is drawn on the close-mic waveform, so you can see what is above it

Recording format

device default
44.1 kHz
48 kHz
88.2 kHz
96 kHz

—
↻ Reload to apply
capture is always **32-bit float** — that is the format the browser hands over, and it is finer than any bit depth you could pick. Bit depth is an **export** choice (16 / 24 / 32-float, in step 5).

**Trim long silences from the take**
take all the time you like between series — any gap longer than three seconds is shortened when the take is captured, identically on every mic, so nothing drifts out of alignment

⏺ Record
🎧 Monitor off

⏎ **Enter** starts and stops the take, **N** moves to the next level — both work from across the room.

Threshold

—
Zoom

12 s
6 s
3 s
1.5 s

Next level ▶

The meters and waveforms run while you are **recording**, or with **Monitor** on. With neither, the input is let go entirely — nothing scrolls and your browser stops showing the microphone as in use.

No recording yet?

TOM
SNARE
KICK
RIDE
PERC

load a synthesised demo take instead — the full workflow, soft-to-loud hits included, no recording needed

## 2 Settings

Instrument name

Take type

AUTO
SHORT
LONG

AUTO detects it from how long the hits ring — short toms/snares vs long cymbals/effects/reverb — and shows which it picked. Override with SHORT or LONG if a take fools it.

Advanced settings

Detect threshold (dB over noise)
12

Min gap between hits (ms)
200

Max sample length (s)
20.0

Auto-reject stray hits (dB below neighbours, 0 = off)
9

Each sample now auto-extends to just before the next hit and fades softly there, starting exactly on the attack. Max length only caps unusually long gaps (and the final hit).

Analyse take
Save settings

## 3 Detected hits

## 4 Review & pick

↶ Undo
↷ Redo

💾 Save session

Quick setup — one click each, all optional:
Sort by velocity
Auto-tune
Tame clipping
Tighten starts
↻ Reset effects & settings
Dismiss

⌨️ Keys & tips — play, pick, tune, reorder
Keys: **← →** previous / next sample · **↑ ↓** row up / down · **Space** play · **A** keep · **D** discard · **R** play all kept · **E** export · **+ −** tune (**shift** = 10¢) · **[ ]** zoom · **⌘/Ctrl+Z** undo · click a marker on the waveform above to jump to that hit

Pick several at once: **shift-click** (or **shift+←→↑↓**) for a range · **⌘/Ctrl-click** to add or remove one · **⌘/Ctrl+A** all · **Esc** clears · then **A** / **D** keeps or discards the whole batch in one undo step. Drag a tile by its **⠿** grip to reorder it.

Space play ← → move
A keep D discard R play all kept
E export + − tune ( shift = 10¢)
[ ] zoom Esc clear selection

**Play it by hand — number keys 1–0 trigger the kept samples by dynamics:**

1 2 softest
3 4 soft
5 6 medium
7 8 hard
9 0 loudest

Each key randomly cycles the round-robins in its zone (never the same take twice) for a
natural feel. It's one drum, so a new hit softly chokes the previous ring — just like a
real head or a mono pad.

Tuning & starts — auto-tune, global tune, global nudge, downtune quality

Auto-tune
tune to

MATCH
NEAREST NOTE

Auto-tune
finds the drum's fundamental tone (strongest low spectral peak of the ring, the way hardware drum tuners do), then aligns every hit's tone to it — corrections are small by design, hits with no clear tone are left alone · affects export · Undo reverts
⚠ Works well on some drums, not all — always finish by ear: listen, then fine-tune by hand where needed.

Global tune
−

+

Clear per-sample tuning
cents · shifts every sample (adds to each sample's own tune) · ±2400 = ±2 octaves, for deliberately very low or high samples · affects export

Global nudge
−

+

0 sp
Apply
Starts back
samples · moves EVERY start in THIS articulation at once, on top of whatever each sample's own ◀ ▶ arrows did · − earlier (more air in front), + later (into the drum) · affects export
⚠ **A start moved by hand can click.** A file whose first value sits in the middle of a waveform begins with a step, and a step is broadband — that is the click. It is not about how far you moved, it is about where you landed. The de-click below measures that on your own audio.

De-click start

OFF
AUTO
16 sp
64 sp

—
only samples whose start you MOVED are touched — an untouched start already lands where the drum's own motion was at its baseline · measured as energy above 4 kHz in the first 128 samples of the file against the same drum 3 ms later: 0 dB means the edit is no louder than the instrument itself · affects export

Tuning quality
**Enhance quality on downtuned drums**

—
two things at once. **Band-limited resampling**: reconstructing the waveform with a windowed sinc instead of drawing a straight line between samples, which on its own recovers 0.9 dB at 8 kHz and 3.5 dB at 15 kHz — and it also stops tuning UP from aliasing. **Air**: tuning down slides the whole spectrum with it, so the top end runs out; this lifts 2 / 4 / 8 kHz back in proportion to the drop (a full octave down = +3 / +4 / +5 dB at 100%). The slider sets the air only. · affects export

Order

PLAYED
BY VELOCITY
⇆ REVERSE
ANTI M-GUN

sets export numbering · use the ◀ ▶ arrows on each sample to fine-tune manually · affects export

Size

XS
S
M
L
XL

Zoom

FULL
MEDIUM
HIGH
DETAIL
START
◥ ENES FADES

Waveform only
view only · DETAIL and START reveal the onset nudge · **,** **.** nudge one sample · **[** **]** zoom · hold **B** to hear the raw sample

Show

All
Kept
Discarded
Flagged ⚠

Starts
—
Tighten starts

Detect

DRUM
CYMBAL

Quick setup

▶ Audition soft→loud
Remove them

Audition
Play all kept
Speed

1×
2×
5×
10×

plays every kept sample in order, tails overlapping — set the beat in the top bar, and how quickly the next one follows here. **Every sample plays in full**; this only shortens the wait between them · audition only, never affects export

Grooves

GROOVE 1
GROOVE 2
GROOVE 3
GROOVE 4
GROOVE 5
GROOVE 6
CRESC
ROLLS
BUZZ
RANDOM

Play
plays the KEPT samples through the same 1–0 dynamic zones, humanised — with the exact tuning & fades that will be exported

Groove shaping — tempo, humanise, volume, voicing (MONO … SEMI … POLY)

Tempo
100 BPM

Humanise (timing & velocity)
45%

Volume
90%

Voicing — MONO … SEMI … POLY
SEMI · 4 rings

## 6 Analyse & build

📊 Stats & QC, sculpt the dynamics, and fill the gaps you didn't record

The same loudness (`rms dB`) that drives the colours and the export layers, plus a QC pass and the take's stats — so you can spot faults, see the dynamic spread and check velocity coverage. Then **reshape it**: drag hits on the Dynamic map to set their level. The round robins and velocity layers a single take never gave you are built by **Stunt Double Velocities**, on the bar under the sample grid.

🛡️ Tame clipping on export — pull any clipped slice back under 0 dBFS (−0.3 dB). Turns off the clip QC flags.

Dynamic map
Velocity histogram
Layer balance
Decay times
Punch
Tone fingerprint
Spectrogram
RR overlay

Sculpt levels
Even out layer
Draw sweep
Reset levels
Drag a dot up or down to set a hit's level — it flows into the colours, layers, QC, the demo and the exported WAV.

Each dot is a hit in recording order; a clean soft-to-loud sweep climbs steadily. Scroll to zoom the dB axis · double-click to reset.

✦ A thin velocity layer or a hole in the dynamics is filled by **Stunt Double Velocities**, on the bar under the sample grid.

## 7 Export

🏷️ Map & name — velocity grid, round robins, `.sfz` / `.dspreset`

Naming
Velocity × round robin

Round robins per layer
9

Velocity layers — the other half of the same grid

−

+

groups the kept samples (in the current order) into velocity layers of this many round robins each, named velocity-first as `name_VV_RR` — the layout Kontakt, SFZ, Decent Sampler and the Pearl Mimic Pro all expect. **Layers × round robins is pinned to how many samples you kept**, so setting one moves the other; if it doesn't divide evenly one layer comes out short, which every one of these formats allows.

Instrument file
Also write an `.sfz`
& a DecentSampler `.dspreset`

MIDI note

C2

a ready-made instrument: velocity layers and round robins already mapped, playable in sfizz, Decent Sampler, Bitwig, Cakewalk and anything else that reads SFZ — no mapping by hand

Output format — 44.1 kHz · 24-bit · mono

Rate

KEEP ORIGINAL
44.1 kHz
48 kHz
88.2 kHz
96 kHz

Bits

16
24
32 float

Channels

MONO
STEREO

🎵 **Compensate pitch for the Mimic's 48 kHz engine** (off by default — test on your module first) — the Editor only imports 44100 Hz files, but if the Mimic itself plays them ~1.5 semitones sharp, tick this: it pre-warps the audio so it lands **in tune** on the 48 kHz engine while the file stays a 44100 Hz WAV. If your **module** already plays plain 44.1 kHz samples in tune (i.e. the sharpness was only the Editor's preview), leave it off. Only applies at 44.1 kHz.

🎙 Additional mics — off **BETA**

Your samples are close mics. A real kit is close mics **plus overheads plus room mics**, and that blend is most of why a recorded kit sounds like a room instead of a sampler. This builds those extra mics from the close sample **acoustically** — a shoebox room, mirrored sound sources for every reflection, cardioids aimed at the kit — rather than printing a reverb onto it. Each mic gets its own real distance, so it arrives **late by exactly the time sound takes to travel there**, and the two channels of a pair are genuinely different because they are in different places. Mix them below to hear it, then pick how you want them: **as separate sample sets** (each mic its own folder, close files left dry, balance it later) or **baked into the samples** (the blend mixed in, one finished stereo sample per hit). Tick both if you want both. **Tick neither and the emulation is not used at all** — there is no separate on/off switch, these two are it.

Use them
**as separate sample sets**
**baked into the samples**

Emulated room

TIGHT
STUDIO
WOOD
CHAMBER
LIVE
STONE
PLATE
HALL

Size 100%

Damping 48%

Position in kit centre

Room amount 100%

IR reverb
📁 Load IR…
🎤 Record…
Clear

Each position below is **one** of four things: **off**, **your recording**, **emulated** (an overhead above the kit or a room out in front), or **IR reverb** — emulated, standing in the room you loaded above. Only the settings for what you picked are shown. A microphone playing your own recording is never modelled and never has a room added to it. There is **one** room file and every position set to IR reverb is in it, as one kit in one place really would be; how much of it each mic hears is set on the mic itself, with **Room level** and **Room length**.

Positions
🎷 **Mimic mode**

Mixer
Fader per mic, in dB, each in that mic’s own colour — the close mic’s is the thick one, since everything else is balanced against it. The names beside them are editable here, and they are the names your files and folders are exported under. **M** mutes. **Additional mics** at the bottom drags every mic fader together — you can watch them travel — and leaves your close samples alone. It springs back to the middle when you let go, ready for the next nudge; **↻** puts them all back to their default balance. This is what you hear when you audition: press **space** or click a tile and the blend plays, and it is also exactly what gets written when you **bake**. The **separate** sets ignore the faders on purpose — each mic is written at its own honest level for you to balance later.

keep sample starts aligned (remove the travel delay)

▶ Test the blend
Reset mics

🎤 Effects — off (optional, baked into the export)

⚠ Every effect is **printed into the exported samples**, and you hear it **live** everywhere you audition — tile clicks, **Play all**, the **grooves** — moving as you turn the knobs, tails and all, with a soft fade so nothing clicks. Use these **only if you do NOT plan to add the same effect later** in your sampler / Mimic Pro. All off by default. **▶ Test** plays the selected sample through the current chain.

Preset
— preset —
💾 Save…
🗑 Delete
factory chains + your own. Saving stores every effect & setting; your presets stay in this browser.

Colour & space
0
reverb, delay, modulation, drive — on the shared master bus, the same for every hit

**Reverb**

ROOM
PLATE
HALL
GATE
SPRING
MINE

Length 100%

Mix 22%

Pre-delay 12 ms

Tone 55%

Gate fade (GATE) 0 ms

My room / custom IR (MINE)

🎤 Record room…
📁 Load IR…
none yet

**Delay** echo / ping-pong / tape, tail up to 10 s
ping-pong

Time 350 ms

Feedback 38%

Mix 28%

Tone 60%

Tape 0%

**Chorus** shimmer & width

Rate 0.8 Hz

Depth 6 ms

Mix 35%

**Flanger** jet-sweep whoosh

Rate 0.3 Hz

Depth 3 ms

Feedback 45%

Mix 45%

**Phaser** sweeping notches

Rate 0.5 Hz

Depth 60%

Mix 45%

**Drive** warm saturation & glue

Amount 35%

Mix 100%

⚡ Wilder ones

**Tremolo** rhythmic pulse / chop

Rate 5.0 Hz

Depth 60%

Mix 100%

**Auto-wah** sweeping funk filter

Rate 1.4 Hz

Depth 65%

Mix 60%

**Ring mod** metallic / bell / robot

Frequency 180 Hz

Mix 45%

**Bitcrush** lo-fi / crunchy digital grit

Bits 8 bit

Mix 65%

⚗ Experimental

**Resonator** makes the drum ring at a pitch
chord

Pitch 110 Hz

Resonance 70%

Mix 35%

**Formant / vowel** makes the drum “talk”

A
E
I
O
U

Move off

Mix 55%

**Octave fuzz** gnarly octave-up ghost (Octavia)

Amount 60%

Mix 45%

Per-sample shaping
0
Shape, Size, EQ, Stack, Pitch bend — applied to each hit on its own, so these are what **FX amount by velocity** scales

**Shape** split every hit into snap / body / air and rebalance them — baked per sample, like Pitch bend

Snap 0 dB

Body 0 dB

Air 0 dB

**Ring tamer** kills the one overtone that rings too long — a *dynamic* notch, so the attack keeps its body
🔍 Detect

Frequency 400 Hz

Width 0.35 oct

Depth 9 dB

Keep attack 12 ms

Not the same as notching in the Graphic EQ: that cut is on all the time and takes the drum's body with it. Here the notch opens for the stick and closes over the tail, so you lose the ring and keep the hit.

**Drum size & material** resize by real diameter & depth, pick a shell material, then dampen or ring it out — baked per sample

Diameter 14″

Depth 14″

Drum tuning 0

Shell material — each has a real, distinct tone

Drum damp off

Ring boost off

Snare mat (beta) off

Snare mat damp (beta) med

Snare wire width (beta) 5″

Current drum estimated at **—**. Diameter is physical: doubling it drops the tone an octave. The attack never smears — only the ringing body is resized.

**Match EQ** learn a reference sample's tone and EQ your drum toward it — baked per sample

Reference

📁 Load reference & match…
none yet

Amount 100%

**Graphic EQ** 31-band ⅓-octave, ±12 dB — drag or sweep the bars; the response is EXACTLY the drawn curve (zero-phase)
Flat

drag a bar — double-click zeroes it

**Stack layer** layer a second sound UNDER every hit — kick+sub, snare+clap — peak-aligned & baked in

Layer sample

📁 Load layer…
none yet

Level 60%

Tune 0 st

Tone flat

Follow vel 100%

Vary 20%

Align peaks

**Pitch bend** glides pitch down / up toward the end — the tom / 808 drop

Start pitch 0 st

Bend −5 st

Start 10%

Fall 55%

Ring boost off

Ring len 1×

**Ring boost** lift the quiet decaying ring so the after-sound sustains — the pitch-bend ring boost, on any drum

Amount 55%

Same engine as Pitch bend's Ring boost, but standalone — no bend needed. Makes a dead tom or a choked cymbal ring on.

**FX amount by velocity** hard hits get the full treatment, ghost notes stay clean — like a real drum

Depth 70%

Scales **Shape**, **Match EQ**, **Graphic EQ** and **Pitch bend** per hit. The live-chain effects (drive, crush, reverb, delay…) run on one shared bus, so they stay even — that's what keeps the audition and the export identical. **Stack** has its own *Follow vel*.

▶ Test on selected sample
All off
⏹ Panic / stop

🥁 Pearl Mimic Pro instrument (`.mci`) — empty **✓ works on hardware**

Builds a **finished Mimic Pro instrument** — not a folder of WAVs. Slice one take, add it as an articulation, load the next take, add that one, then export a single `.mci` you can drop straight on the module. Everything the Instrument Editor would ask you for is here: name, library, image, velocity layers, round robins. The audio is written **losslessly at 44.1 kHz** through the same rendering chain as the WAV export, effects and all. **Confirmed on a real Mimic Pro** by a tester — the instrument loads and plays on the module, and the icon and the names come across with it. The format was worked out from scratch by reading the files, so it is worth keeping a backup of anything irreplaceable, but it is no longer an untested guess.

Instrument name — what the module shows

Library name — must differ from the instrument name

Instrument type — sets the articulations

Image — drop a big one, the drum gets found and fitted

📷 Set image…

✕

−
—
+

Grid for the next add

−
—
+

−
—
+

★ Recommended
the same grid as step 5 — one value, two places to reach it. Each articulation keeps the grid it was added with, and you can reshape it below afterwards without re-slicing.

Pitch clones

♪ Export clones
a whole tom set from one recorded tom: `-3, -6` gives two more instruments below this one. Resampled like a sampler, so a lower clone rings longer — which is what a bigger drum does. **Down-tune air** is applied to each. Beyond about −4 st a snare starts to sound sluggish. Several offsets arrive as one zip.

🎵 Calc Velo
🔁 Anti machine gun
⬇ Export `.mci`
Clear instrument

🥁 2box DrumIt sound (`.dsnd`) **BETA**

The DrumIt's format is wide open: a `.dsnd` is an ordinary WAVE file with one extra
chunk holding the map, and the audio inside is plain 16-bit PCM. Build the velocity steps here,
export, and copy the file onto the module over USB — it mounts as a disk.
**Drop a .dsnd on the app** to read one back in.

Sound name — becomes the filename

Zones

⬇ Export `.dsnd`
Clear sound

Other tunings
also export this same drum at

a whole tom set from one recorded tom, in one go — the same engine the Mimic `.mci` clones use, except here it renders straight from the take, so nothing is resampled twice. Each tuning gets its own folder in the zip (and its own `.sfz` / `.dspreset` if those are ticked). **Enhance quality on downtuned drums** applies. Beyond about −4 st a snare starts to sound sluggish; toms and cymbals take much more.

Whole take
include the full-length tracks
Adds a **Take** folder to the same zip — the close mic and every mic position you have switched on, each at **full length**, exactly as they were recorded against each other. Nothing is re-timed and nothing is trimmed to fit. Drop those files back onto the load area together and they come in as a take again. Modelled positions are rendered over the whole take, so a close-mic-only recording comes out as a real multitrack session.

Sample ends
◥ Enes sample end fade

OFF
ON

Settings…

Instrument name

every file and folder in the export is named from this — change it here if it is not right

Export kept samples
build a **Pearl Mimic Pro** .mci
build a **2box DrumIt** .dsnd
🎟 Export every zone
📄 Spec sheet

## ♫ Showcase & share

Render a short audio file of this kit **playing itself** — your current tuning, kept samples and voicing, performed so every velocity layer is heard. Pick **DRUM** for grooves (SHOWCASE, MUSICAL, EXPRESSIVE, FAST, JAZZY, AGGRESSIVE, QUICK, or 🎲 SURPRISE for a random performance) or **CYMBAL** for rides & swells; drag **Ring** for how much the drum overlaps itself, and dial the **Room** reverb to taste. Ring runs from **MONO** (far left — one ring at a time, a re-strike resets the head) through **SEMI** in the middle (a few rings overlap before the oldest gives way — the default, and the honest setting for most drums) to **POLY** (far right — nothing is ever choked). Flams stay tight at every setting: the main stroke always chokes its own grace note. Made for showing the kit off (a Facebook group, a forum, a client), and a good final gut-check that it actually sounds good played.

Kit

DRUM
CYMBAL

Style

Length
20 s

Room
off

Normalise for sharing
room reverb: 0 = off, 100% = a light touch, higher = louder & longer tail

Performance & ring — humanise, voice overlap

Humanise
70%

Flams
1%

Rolls
33%

Ring — MONO … SEMI … POLY
SEMI · 4 rings

Ring = how much the drum overlaps itself · flams stay tight at every setting

🎵 Render demo WAV
Stop

▶ Play demo
⬇ Download WAV
🎥 Make share video
🔀 Re-roll (new performance)

the video plays the demo with an animated waveform & the kit's name baked in — autoplays (even muted) in a Facebook or Instagram post where a bare audio file won't. It records in real time, so it takes as long as the demo.

▶ Preview
⬇ Download video

Preview plays right here in any browser (including Safari). Download saves the recorded video file to post.

🪅 Piñata Pad — hit it, and something falls out

**This one is purely for fun.** Drop in a zip, a folder, or a pile of WAVs — breaking glass,
a donkey, a cat, a whoopee cushion, whatever junk you have lying around — and they land in the
slicer in **random order**, one file per slice, all levelled to the same loudness. After that they
are ordinary slices: tune them, drag them into whatever order you like, throw the boring ones out,
run them through the effects. Export as a Mimic `.mci` or as plain WAVs, same as anything else.

The trick is that **velocity stops meaning loudness**. Every hit comes out at the same level; how
hard you hit only decides **which** sound you get. A quiet tap is exactly as loud as a wallop —
it is simply a different animal. Hit the pad twenty times and you have no idea what is coming.

🪅 Choose a zip, folder or WAVs…
🎲 Shuffle again
⏳ Fix late risers

Trim long ones
cut anything longer than

seconds
off by default — a six-second smash ringing out is half the joke, and the module cuts it on the next hit anyway. Tick it if the file is getting fat. Set before you load.

### Keyboard shortcuts ×

Review & audition

Play the selected sample Space

Play all kept, soft → loud R

Move selection ← → ↑ ↓

Extend selection (batch) Shift ←/→

Select every tile Cmd/Ctrl A

Collapse the selection to one Esc

Keep, tune & export

Keep the selected sample(s) A

Discard the selected sample(s) D

Fine-tune ±1 cent (±10 with Shift) + −

Export kept samples E

Recording

Start / stop the take Enter

Move the coach to the next dynamic level N

Anywhere

Undo / Redo Cmd/Ctrl Z ⇧Z

This help ?

Type an exact value double-click any slider readout

> **AI provenance** — AI-generated (anthropic/claude-fable-5), human editorial review, 2026-08-14T14:15:30.654Z · record: https://aimeat.io/v1/provenance/773c1ddb-57b5-49e0-ae98-bd1bf9adea7c


## Agent affordances

- Act — WebMCP tool listing for this app: https://aimeat.io/v1/apps/fatalii/fatalii-s-drum-sample-slicer.html/webmcp
- Learn — skills bound to this app: https://aimeat.io/v1/apps/fatalii/fatalii-s-drum-sample-slicer.html/skills
- App catalog on this node (this app: fatalii/fatalii-s-drum-sample-slicer.html): https://aimeat.io/app-catalog.html
- Register an agent on this node (RFC 8628 device flow): https://aimeat.io/auth.md