It should be noted that at this time (Dec 2016) the Rate can't be swung down to create a Karplus echo (2 very close taps on REC button) via MIDI as the initial Record will set the Rate to default center position. If you have the timing perfect you can shift the Rate down between the first record note and the second, at which point Karplus echo can be created. I am trying to resolve this.

If you wish to attempt it anyway, setting a ST/End PlayFX on the "just recorded" Karplus echo in reverse is very cool!

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This example uses the Record/Play notes aka DJ Mode. I'll reference to FL Studio, but will work anywhere.
1) Take a bunch of drum samples (percussion only) and lay them out as 10 steps, 1 or 2 beats apart in a pattern, say 4 bars long
2) Add a MIDI Out pattern and set to MIDI Channel (Slot) # 2 for DJ mode
3) Set Record notes (black notes from C#6 to Bb7) to line up with different drums or hats, combos  etc. in Piano-Roll
   *Note that these notes must be as long as you want the sample to be! Usually that's right up to the next one.
4) Put this pattern in first part or song/playlist but after the first bar (Critical functions, like REC are blocked 200mS after Play)
5) Allow the pattern to run once with your drums, then stop. There will now be 10 samples notes on the white keys (C6 +)
6) Select another Pattern and play around with the White key samples (be careful not to hit a Black key!)
7) Once you've become familiar with your drum samples, create a few loops with them and add them into the Playlist after
    the Recording pattern. These will be the cool grooves so make it at least 30 seconds long total before it loops ;)
8) Set the loop point at the start of the Record Pattern so it loops to there.
9) Turn blend over to the right so you can only hear the Reflex samples

Mix some canned music with the output from FL Studio (however you usually do that) and hit MIDI Play.
Each time your sequence loops, a new set of Samples will be recorded with your drums + incoming music/voices etc. then it is played in a cool and groovy way! Each time it comes around the sound really changes and is always entertaining.

To further the "automation" experience, add CC control automation to only allow Blend Input Levels to be heard during Record notes, then fades out to hear only samples. The .zip file has this feature.
This can also be done with recording, then creating Slices from that, then playing them on Channel Slot # 3. All Samples created in this example are kept until the total length is > 3 minutes or there are more than 400 samples (Slices) so can be readily accessed via Channel 3 even though they were "ran over" by new Rec/Play notes on each Loop in you DAW.

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I have yet to try this still as I just don't have the hardware, although I do have a bamboo pad I could rig for this. Can't wait for video on this.
 

PlayFX can be used with a CV patched into it's End/Size jack to control the length of Slices in a sequence. This is especially wonderful with an LFO controlling the length of the Slices proportionately!

  Any Slice created during an initial Record (before echoing, Playing) or during an R/P mode Play, will be considered "sequential" and will from then on Play as 1-Shot Slices as long as Slice LOOP is on. 1-Shot plays once then stops/exits to RP Sample. If the recording/Playing has been stopped, then the 1-Shot plays will end in silence.

  At first I thought of it as abruptly chopping off a sample, but most of the time a sample/recording being sliced will intentionally have gaps (such as drums or stabs etc) and to be truthful, even songs that have been sequentially sliced 1-Shot softly into silence thanks to the muting abilities of the Reflex sound pretty good! Now I wouldn't dream of ever going back.

  BTW, Slices created during an Echo or Layer record/Play are still Looping Slices, each looping at the Echo Size, or Layer Size. PlayFX created Slices (Slices made from PlayFX Loops) are also standard Looping Slices.
One more thing, if Slice LOOP is off, then Slices will Play through as before, no matter which type they are.
Isn't that simpler?

What Stutter does is simply masks certain bits in the sample's addresses, causing it to skip and/or repeat small areas of the progression of the sample playing. At different sample Rates, therefore, Stutter will produce different results tonally.
As if this isn't loony enough, Stutter has a fine mode that appears to break down samples instantly into lower/distorted sample rates with aliasing and bizarre qualities that may only exist in a "broken sample machine".  All this and CV control over the Left and Right Channel Stutter/Fine Stutter makes this a fun and worthwhile addition to the RLL!

   If you've played around with PlayFX, you may have tried to adjust the Start/End together and switched to Fine mode to create "notes" for Slices, only to be discouraged when the notes come up different when played as a Slice. This is no longer an issue as the Slice is precisely identical to the tiny loop from which is was created.
This also works the same way when modifying a Slice with PlayFX (except from G-Move of course)
 

  What if you could record a sample, then when playing it back overdub or punch-in to it with additional audio without there being any loop or limit/size restrictions like there is in Echo & Layer modes? What if you could append a sample already playing to a larger size?
  The new R/P mode can do this, up to 3 minutes @ full sample rate. ( Reducing the sample rate to the first LED on the LED Circle is about 24KHz and will yield 6 minutes without much loss of high end clarity. For a grungy 80's type sample sound you can squeeze 10 minutes to 30 minutes of sample time.)
  Because there's no time constraints, an uneven Trigger into Record from, say a sequencer's gate output, can yield some interesting results! For example, the 1st trigger starts record, then another 2 seconds later switches to play, and yet another happens after 1 second; the punch-in point will be half way through the play looping. The original sound will be fed back as usual, but a new sound mixed with it until another trigger switches it back to play. Depending on the sequence, the whole sample size may grow quickly, or fold in on itself. Throw in the EQ and some cool things start to evolve!
Soft leveling on the feedback will quickly smooth any sudden level changes if the feedback level is reduced.

  PlayFX can be used to "index" long samples, or play in reverse, without loosing place in the playing sample. It can also be used to speed up / slow down / loop and then be recorded as a replacement or append.
 

  After adding the Auto-Slicer modification to create a slice on every echo/delay cycle, and playing with the resulting slices (which makes them valid or they'll be erased in lieu of a "real" slice made by user) I came to realize the loop clock output could be patched back into the Slice Play input. This will trigger a new slice to play at the end of the last slice.
Adding a random signal to the Slice CV input, a new slice is selected each time, and stays in sync with the original echo length!

  This works very well if a set of notes is built upon from the start, but with the feedback turned down some to allow old notes to decay away. So as long as the original melody isn't drifted away from too much, it all fits together very well!
In this sample playFX was also brought in set in reverse, and some envelope on the EQ midrange band.
A piano was used to build in this sample, before the idea came to self feed the trigger.
 

  That's why there's now a peak record trigger! Select Peak Mode, then press record. The Record LED will flash until a sound is heard, at which point it begins recording. This has no affect on any other step of operation, and you don't even have to use the slices, it's just a great way to start record remotely.
If you decide to cancel once armed, holding the button or footswitch for more than 1 second will reset it.
 

  This all sounds complicated but it's as easy as playing a slice, then tapping the Record button where/when you want to overdub or replace the Slice. Tap Record again to stop and leave the Slice play.
This being said, a fun thing to try is to create a bunch of fast slices, then try to mimic the slice with your voice or other sound and overdub it in 50% mix. Once finished a few, exit Slice Play and you'll hear your modifications to the original sample!
It's best to create the slices from a stable playing sample (one that's looped once) so Slicer knows that's the sample to slice at that point.
 

  To modify a Slice, select the Slice using Slice Sel (1-16) or that + a CV offset. Start playFX and do your modifications. When ready to to save, tap playFX button, then immediately tap the Record button. The PlayFX LED will go out and the slice you've just modified will be playing. Done!
There is a single undo for each slice, so if you want to re-modify a slice, the previous slice will be copied to playFX for modifying. After that, returning again will load the previous slice modification back (even if it's one you don't want)
 

  Layer II is much more intelligent and forgiving. The same rules apply, i.e. A layer must be at least 2 seconds long, and the 2nd tap defines the initial size of a Layer, but that's where similarities end.
So the 1st tap starts record, the 2nd tap sets the layer size (so should be at a down beat) and Layer switches to play.
If you want to record the next layer right away, just tap again within 1 second.
After that, say a second later, you want the recording to end at the next loop point, you can tap once anywhere up to the loop.

  The footswitch (or Record button) can be tapped anywhere between loops or at loop time following the simple rules:
Once for play next, or twice for record next.
I found this really easy to manage with very little practice, and the "late" double tap is really great as one tends to want to tap right at the loop point, rather than in between or just before.

  An extra, and much desired feature, is the Layer Back function. This allows you to "peel back" layers to reach the previous layer recorded, and continue all the way back to the very first layer. This can be accomplished by triple tapping, and this really should be done in between loops to avoid confusion.
  Finally, the whole thing can be stopped by holding the footswitch, or Record button, then releasing to stop. This means the entire Layer sequence can be controlled via a footswitch, hands free, which is perfect for playing guitar or keyboards!
 

  The Slice Groove idea has existed since the beginning of the Reflex, and after having it actually working, the Reflex would be a far lesser machine without it.
Entering Slice Sequence requires that some slices already be at the ready, then holding down the slice button and tapping the Record button (while still holding Slice button). This way it couldn't possibly be entered by accident.
The Red LED above the Slice button comes on, indicating all ready to record. The first Tap on the Slice button is  the start of the recording. This will also engage the trigger input if there is one. Use the Rate knob to select slices as you go.
Once you draw the sequence to a close (Up to 200 "notes") tap the Record button to end record, at which point the sequence will play. Because the switch to play is instant, consider this tap the downbeat to the first slice you tapped in.

 As usual, the Slice CV acts as a divided range to access all slices. So if there's 50 slices, then the 0 - 5V will access 10 in every Volt. The Rate Knob as Slice Select acts as a slice# offset 1-16 (not a a voltage offset) so that the LED Circle can display easily how many slices a sequence CV might be offset etc.
  An added bit of coolness to this feature is to set the Record T/F/C trigger to Clock. Each time a slice starts (your taps) in the recorded sequence, a pulse is sent (like with all slice and PlayFX) which can be patched to an ADSR or other envelope to control an EQ band on the Reflex!
 

 Rate CV input has a full range attenuvertor to invert and attenuate -5V to +5V, and at each end will play samples as 1V/Oct.

  The Rate CV speed is approximately 150Hz, but may be more as the scan rate is many times that. It depends on what kind of resolution you are looking for, the swing, and the audio that's going in. The Sample Rate is completely variable from 1.5KHz up to 48KHz where it "holds". Lower sample rates give more time than the 174 seconds, and is almost not noticeable at half speed (just when the first LED in the circle illuminates) unless there's lots of highs like cymbals etc.

  So effectively, the time can be almost 6 minutes, which seems excessive, but isn't when you're in Layering mode with a long progression! Lower rates only become noticeable after 1.7 octaves (18KHz) down. By 2 octaves (12KHz), you must adjust down the high band on the EQ to get rid of the Nyquist ring...which may be desirable too...
 

The first experiment was to simply record a pre-made sequence (the Flash-8 demo initially) and the sounds into the Reflex to test it out. It worked exactly as it did with the computer sequencer, yay! Next I used those samples and triggered them from the TRAX trackers in the Sequarallel and had a great time with it sending notes / pitch / G-Move and Slice data with various methods. This made the Reflex a sample player via MIDI to go along with the MIDI synth I had patched in also.

Unfortunately I didn't record these sessions but plan to once I decide to use it in a cohesive song attempt. Stay tuned!