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WELCOME Welcome Thank you for choosing Samplitude! You now possess one of the most successful complete solutions for professional audio editing. This PC-based Digital Audio Workstation (DAW) features extensive application options for recording, editing, mixing, media authoring, and mastering. The program stands for unique functionality & sound neutrality, outstanding cutting & editing options, perfect CD/DVD mastering, and the flexible customization of individual workflows.
TABLE OF CONTENTS Table of Contents Copyright 2 Welcome 3 System Requirements 64-Bit Version.
TABLE OF CONTENTS Spectral mode Multifunction input field with help-function Controller Artist Series support New MIDI functions New functions 40 40 41 41 42 What's new in 11.2? Options administration/Remote/User administration New functions 42 42 43 What’s New in Version 11.
TABLE OF CONTENTS Samplitude as a wave editor Working with Samplitude – tips & tricks 108 110 Object-oriented audio editing What is an object? 113 113 Object Editor Basic functions: Object editor Object effects Position/Fades Timestretching/Pitchshifting 114 114 116 119 121 Methods for Working with Objects 123 Integrating wave files as objects in the VIP 123 Integrating sections from wave projects as objects 123 The difference between loading and importing audio files 123 Integrating CD tracks as
TABLE OF CONTENTS Take Composer Comping VSTi manager Routing manager Soundpool manager 152 154 156 156 157 Mixer Mixer overview Using the mixer Channels Master section Global buttons Buses and routing Effect routing/plug-ins dialog 158 158 158 161 165 167 172 174 Effects – organization and workflow Save effects parameters (preset mechanism) Saving new effects parameters Track effect settings Effect routing External hardware effect integration Setting latencies for external effects Integrating external
TABLE OF CONTENTS Panorama modes in the Surround panorama module 2-channel Surround mode Stereo and mono signal processing in surround projects Alternating between stereo and Surround formats Automating the Surround panorama module Effects in Surround projects Editing Surround sound automation Surround bouncing 230 235 237 238 238 239 240 240 MIDI in Samplitude MIDI setup Import, record, edit MIDI object editor 242 242 242 244 MIDI Editors Open MIDI Editor Working with the MIDI Editor MIDI editor: m
TABLE OF CONTENTS Software-Instrumente/VST-Plug-Ins/ReWire Installing VST plug-ins Load software instruments Apply plug-ins at wave level Load plug-ins at object level Load plug-ins at track level Load plug-ins at master level Loading routing settings with software instruments VST MIDI out + Audio out recording Routing VST instruments using the VSTi manager Instruments with multi-channel outputs Plug-in panel - graphical interface Plug-in parameter dialog Plug-in menu functions Play and monitor instruments
TABLE OF CONTENTS Hardware controller – "Internal" mode Customizing controllers Controller elements Hardware controller options Hardware controller - fader scaling Learn controller for plug-in/mixer elements Hardware controller presets 362 365 368 369 371 372 374 Preset keyboard shortcuts File menu Edit menu Track menu Object menu Play Real time effects CD/DVD menu View menu Help menu Mouse 412 412 413 415 415 418 419 419 419 420 421 Signal Flow Record Playback Signal flow with monitoring 422 422
TABLE OF CONTENTS Clean up Close Project Project Properties Program Preferences More Exit Recent File 464 466 467 474 504 504 504 Edit Menu Mouse mode Object Mode Undo Restore Undo History Delete Undo History Copy Cut Split Insert Delete Silence Tempo Range Crossfade Batch Processing...
TABLE OF CONTENTS Object Menu Object Editor... MIDI Editor... Edit audio file New MIDI Object New MIDI object in the range New Synth Object Edit Quantization Object effects Selecting Objects Groups Moving objects Hotspot Takes Object Color/Name Freeze Objects Remix Agent – Tempo and Beat Recognition audioid Comparisonics Audio Search… Time Stretch/Pitch Shift Patcher... More Object Manager...
TABLE OF CONTENTS MIDI Panic – All Notes Off 597 Automation Menu No effect (Track) Edit selected curve (Track) Automation Mode MIDI Controller Automation Hide Automation Show Track Automation Show Object Automation Show Only Selected Curve Show all curves (not selectable) Show all curves (selectable) Select previous curve Select next curve 598 598 598 598 599 599 599 599 599 599 599 599 599 Effects Menu Notes concerning offline effects editing Advanced options for offline effect calculation Amplitude D
TABLE OF CONTENTS Process Effects Offline 776 CD/DVD Menu Import Audio CD Track(s)… Import Audio DVD… Make CD... Create DVD-Audio...
TABLE OF CONTENTS Vertical Cascade Tile Untile Window System information FTP Download... 1, 2, ... 817 818 818 818 818 819 819 819 Help Menu Help Menu Help Index… Context Help… Open Manual… About Samplitude... Start Wizard / Tip of the Day Dongle Activation...
SYST EM REQUIREMENTS System Requirements 64-Bit Version. Should I switch? By switching to the 64-bit version you increase the available amount of RAM On a 32-bit system the upper limit of addressable memory is 3.5 GB, for many programs it's only 2 GB. In contrast on a 64-bit system the theoretical upper limit is a lot higher, namely 264 = 16 Exabytes. Practical values are 16 GB for Windows 7 Home/Premium and 192 GB for Windows 7 Professional/Ultimate.
CONTACT Contact Product activation: For questions about product activation, please contact the Samplitude service team: Telephone: +49 (0) 5741 3455 30 (Mon - Fri 9:00 to 5:00) Fax: +49 (0)5741 310 768 Or send an email to servicesfr@magix.net Support Registered users have access to technical support: The current terms and conditions for support services apply. You can find the terms and conditions and more information at: http://rdir.magix.
INSTALLATION Installation 1. Place the installation CD into the CD-ROM drive. 2. The installation program will launch automatically. If it does not, open Explorer and click the letter of the DVD drive. Open start.exe by double clicking it. The contents of the installation CD are displayed, you may visit our website, or install additional programs such as CodeMeter Runtime (view page 23). 3. To begin the installation of Samplitude click on "Install program > Samplitude Pro X / Samplitude Pro X Suite".
INSTALLATION After installation you can add or remove components by starting this installation program again and selecting/deselecting the respective components. Click "Continue" to proceed with the installation. Once all the files have been copied to the hard disk, a program group will be created. The installation is now complete. Complete the installation by clicking "Finish". Next choose the language in which you want to install Samplitude.
INSTALLATION Activating Samplitude After the program has started, the "Program activation" dialog appears. Select "Register". Step 1: Enter the serial number in the next dialog. You will be able to find this on the case of the software DVD. Step 2: Samplitude calculates a user code once the serial number has been entered. The actual activation code is generated from this code later. An online connection to our authorization server is necessary for this to work.
INSTALLATION Note: Ensure sure when entering your data that your email address is correct so that we will be able to send you the activation code once the registration process has been completed. Enter the user code to register a new product. Click on "Continue". In the next window, continue with activation by clicking the corresponding button. The activation code will now be displayed. This will also be sent to your email address automatically.
INSTALLATION On the support page under "My Products", you will now see the most recently activated product in the list of registered products: Note: Please keep your serial number and activation code in a safe place. If you lose it, you will not be able to activate the product again. Substantial changes to the hardware configuration of your system may require reactivation as it may change the user code. You can activate the product three times in total. After that you will have to contact our support.
INSTALLATION Introduction to Samplitude network installation Network installation – configuring the CodeMeter stick 1. Install a current CodeMeter Runtime on a network server or on a network PC (Windows, Linux, Mac OS X). You can find the newest Runtime at www.codemeter.de 2. Insert the CodeMeter dongle into an available USB port on the server. 3. Start the CodeMeter Control Center via "Start/Programs/CodeMeter/CodeMeter Control Center". 4.
INSTALLATION CodeMeter Control Center You can find the newest Runtime in the download section at www.codemeter.de. Insert the CodeMeter into an available USB port on the server. Start the CodeMeter Control Center via Start/Programs/CodeMeter/CodeMeter Control Center. Now open "WebAdmin" in the CodeMeter Control Center on the bottom. Your internet browser will open. In WebAdmin go to the register Content > CmStick. In the CmStick line you will see your dongle's serial number.
SYST EM SETTINGS System settings Before you start working with Samplitude, you should configure your sound card after starting the system for the first time. Press the "Y" key on your keyboard or open the global system settings via "File > Program preferences > System/Audio". This allows you to access information about any connected playback and recording devices as well as MIDI, metronome, or program settings, and change them if necessary.
SYST EM SETTINGS Lower latency (input/output delay) in terms of the driver system. Resulting response times during real-time editing are clearly reduced. This provides the possibility to use the software monitoring for inputs and VST instruments. ASIO is intended for editing multi-track recordings featuring several sound cards that are all using the same ASIO drivers. The sound cards are synchronized by the ASIO driver.
SYST EM SETTINGS Monitoring settings Monitoring is defined as listening to the input signals, for example with the intention of returning these to the incoming music. The routing of monitor signals is an important and complex process that is subject to various requirements. In most cases, we recommend using the "Mixer FX Monitoring/Hybrid Engine".
SYST EM SETTINGS Hybrid Audio Engine In general, "Hybrid" refers to a system in which two separate technologies are combined with one another. Samplitude's Hybrid Audio Engine is a special combination of a Low Latency Engine and the classic Samplitude Playback engine with higher latency. The Low Latency Engine calculates live input signals and the output of the playback engine. This provides short reaction times for calculating track effects and also provides monitoring with low latency.
SYST EM SETTINGS Economy track If you have selected the ASIO Hybrid Engine as the driver system, you may take individual tracks from the Low Latency Engine and calculate the track effects with a larger VIP buffer size for VIP objects during playback. This saves the system's processor from being overloaded. To switch a track to "Economy", select the menu item "Track -> Track properties -> Economy track".
SYST EM SETTINGS latency. You may therefore also mix data from the hard drive with the lowest possible playback delay. We recommend this mode for input signals as well as for live mixing with hardware controllers, since this guarantees access to all bus and master effects. Applies to all monitoring modes: Track effects in the recording track will not be included when recording.
SYST EM SETTINGS Audio devices Select the inputs and outputs (devices) for the installed sound cards used by the program in this dialog. By clicking the box to the left of each respective device, you can activate and deactivate them as desired. Set the sequence with the arrow keys. The "Reset" button activates all of the devices displayed. For ASIO, only the first 4 stereo channels will be activated (standard). If you hold the "Shift" key, then all devices will be activated.
SYST EM SETTINGS Global MIDI devices Open the System options – MIDI via "File > Program preferences > MIDI options" and then set the global playback and global record device. The set devices are used to play back MIDI files directly, and they are also used for the standard settings for new tracks. You can rename the devices at any time. Record offset Enter a recording offset value in milliseconds to determine the time difference which passes between a MIDI command and placement in the arrangement.
SYST EM SETTINGS Automatic volume fader mode for MIDI tracks The behavior of the MIDI track's volume fader is preset to controller 7 (MIDI volume). Alternatively, you can also select that "Volume fader" mode should not change for MIDI tracks or that the volume fader for MIDI tracks should match the MIDI velocity scaling. New MIDI tracks will assume the currently set Volume fader mode (view page 161). Activate SysEx input Selecting this option causes Samplitude to receive SysEx data from external devices.
SYST EM SETTINGS Here you can see the most important information about the current project at a glance. This includes beat/BPM, recording, editing, and snap/grid settings. Project options– Project Sample rate (Hz): This indicates the project's sample rate. You can also change the sample rate for the project and adjust Audio and MIDI objects to the modified sample rate. Damping: Set level decreases in 6 dB stages.
SYST EM SETTINGS Group object according to Multirecord: Objects that belong together will be grouped in a multitrack recording. Offline audio editing (only for Wave projects): Detailed information about destructive editing is available in the chapter"Working in the project window -> Samplitude as a wave editor (view page 108)".
WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? What's new in Samplitude Pro X/Pro X Suite? 64 Bit Version Sequoia_x64.exe or. Sam_x64.exe with 64 Bit memory addressing for 64 Bit-operating systems (view page 16), i. e. no 2 GB limit. VST plug-in handling: Automatic "bridge" handling i. e. you can load 32-bit plug-ins in the 64-bit system and vice versa. You can change projects from 32-bit to 64-bit. In the 32.
WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? SE-cleaning effects DeClipper SE, DeClicker/Decrackler SE, DeHisser SE, DeNoiser SE are called the new SE-Cleaning-effects. These restoration tools (view page 666)offer a range of functions that are straightforward to use, practical on a day to day basis. With as few faders and little space on the screen you get an overview of multiple instances in the project. The SE restoration tools in Samplitude don't use many resources.
WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? Revised Object Editor Object Editor (view page 114) and MIDI Object Editor (view page 244) have been revised and have new graphic interface designs. Integration in the new docker "To all" is now a status button: - Changes (Volume, Fades, EQ....
WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? eFX_VocalStrip Optimized channel strip with compressor, DeEsser, gate, Highpass filter and one shaping for recordings containing vocals or speech. eFX_Tubestage Authentic analog tube amplifier with oversampling mode simulation. eFX_Reverb Reverb plug-in for creating versatile reverb effects - from short to long reverberations. eFX_StereoDelay Stereo delay with individually adjustable delays for both channels, as well as tempo sync function.
WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? True Resynthesis Timestretching (TRTS) (offline) In "True Resynthesis Time Stretching (TRTS)" the signal is broken down into individual components, with the amplitude and frequency modulated oscillators - simple synthesizers -are reproduced faithfully. If these synths play longer or shorter a Timestretching effect will be created. You can do Timeline stretching (view page 651) using TRTS.
WH AT'S NEW IN SAMPLITUDE PRO X/PRO X SUITE? Controller Artist Series support Samplitude supports the Controller Artist Series (view page 374). Artist Mix, Artist Control and Artist Transport are all part of this. These controllers are controlled using the EUCON protocol, which can be activated in the Hardware Controller Settings (view page 360). Note: Windows 7 is a requirement if you want to use the Artist series.
WHAT'S NEW IN 11.2? New functions Access to automation directly in the effect dialog: In many effect dialogs you now have direct access to the automation button and therefore to the automation menu. This is made possible by a newly created header (view page 179) in the respective dialogs, which also provide presets and, where needed, A / B comparison functions. The new command Menu Edit > Tempo > Create click track creates an audio track, which contains all metronome click as objects.
WH AT’S NEW IN VERSION 11.1? "Recent Files list" and work paths for remote users are saved separately for each remote user in the "audio.ini" of the admin (in other sections) Current "Recent files list" is kept if you import INZ containers. You will only encounter troubles if the "audio.ini" e. g. is overwritten by an admin when loading INZ containers. Query when deleting a user profile in user administration.
WH AT’S NEW IN VERSION 11.1? Multi-language version – one EXE for all languages The program will be installed in the language corresponding with your Windows system settings. After installation, you may select freely between English, German, French, Spanish, and Italian by accessing the program folder "Samplitude" and then double clicking the file "Install.
WH AT’S NEW IN VERSION 11.1? Vandal (Vandal in Samplitude Pro X Suite/Vandal SE in Samplitude Pro X) New presets and floor effects (view page 750) Visit http://www.vandalamps.com for more information. Version limits of Vandal SE versus Vandal: 1. The SE version of Vandal only includes the following stomp boxes (floor effects): La Crema Overdrive Hellfire Distortion Chorus PhaseShifter/tremolo 2.MIDI scenes & MIDI control are not included. 3.
WH AT’S NEW IN VERSION 11.1? System options -> Performance The maximum CPU number for audio processing may now be set via !System options > Performance (view page 477)" (new standard: 3) New functions New menu command "Tempo > Hard quantize object position" New menu command "Tempo > Soft quantize object position" The "Insert" buttons on the mixer (view page 158) now activate all effects (effects inserts + plug-ins) for the individual tracks as well as in the master module.
SCREEN ELEMENTS Screen Elements What is a VIP? VIP (virtual project) refers to the basic project window for a Samplitude project. This provides a graphical framework for you to edit the project and navigate throughout the arrangement. The VIP covers all toolbars and buttons, the arranger, track header, track editor, transport console, and status display. Furthermore, .vip is the file extension for virtual projects in Samplitude. Program interface – Overview VIP window: 1.
SCREEN ELEMENTS Detailed information about how to use menu items and keyboard shortcuts is provided in the menu reference, help file, or in the "manual.pdf" documentation under "Menu File -> Program Preferences -> Edit keyboard shortcuts and menus (view page 488)". 3. Toolbars: Toolbars consist of buttons that execute specific commands or specify states. They are ordered above and below the arranger in groups. You can move a toolbar group by clicking on the left separator and dragging with the mouse.
SCREEN ELEMENTS Display second grid bar: Use the grid bar's context menu to activate a second grid bar in the arranger and set your own measurement unit (2. Show grid bar). Both grid bar positions can be exchanged (Swap grid). If you select "Independent time format" in the transport window, the upper grid will adapt to a chosen BPM grid, unlike the lower grid.
SCREEN ELEMENTS 9. Status bar: The status bar appears at the bottom border of the VIP window. Here, you will find about CPU overload, latency, buffer, and current operations like loading, saving, effect calculation, etc. You can open the status bar also via menu "View > Toolbars > Status bar". 10. Transport console (view page 52) 11. Manager / Docker (view page 50) 12.
SCREEN ELEMENTS Docking In Samplitude you can dock certain dialogs and windows to areas in the VIP interface or to the docking bay. The docking handle ranges for docking and undocking are found at the top of the respective window and, in a docked state are distinguished from the selected skin by a bar or double line. In a undocked state the corresponding dialog appears with a conventional title bar.
SCREEN ELEMENTS Vice versa, an individual window may be uncoupled by clicking the title bar or by double clicking the handle area. Also inside the docking bay you can place and arrange new windows. Move the respective window using the mouse pointer onto one of the arrow symbols in the docking bay.
SCREEN ELEMENTS Transport console Shortcut: Ctrl + Shift + T Transport console with "Camo" skin The transport console contains the most important commands for playback, recording, and positioning. Transport console with "Star Gray" skin Play / Stop / Fast forward / Rewind buttons: Use these buttons to control the positioning like a cassette player. Right mouse click on play button: Opens the playback parameter window for stereo master operation.
SCREEN ELEMENTS Marker buttons 1...12: The current play position may be saved to one of the 12 marker buttons by clicking. If one position has been saved, the marker will appear bright. Another click on the same marker moves the play position to the corresponding marker. Rightclicking deletes the saved marker again, making it available again to be allocated. Recording modes: Here you can set up the appropriate recording mode.
SCREEN ELEMENTS recording button will flash until the start marker has been reached as well as once the end marker has been passed. It will light continuously during the actual recording between the markers. End the punch recording by pressing the record button again; playback will not be interrupted. Playback will stop if you press the "Stop" button. "In" button: This button sets the starting point for a Punch recording. "Out" button: This button sets the end point for a Punch recording.
SCREEN ELEMENTS Track Editor Located at the left border of the arrangement window, the track editor enables quick access to all of the most important track parameters of the selected track. Record and monitoring status, volume, panorama, MIDI/audio in and outputs, plug-ins, AUX sends, and EQ settings are displayed in well-arranged sections and can also be edited via this view.
SCREEN ELEMENTS 3. "M" button: This button mutes the active track (track mute function). 4. The "REC" button: This activates the track for recording. 5. The "Lock" button: Protects objects in the track and prevents them from being unintentionally moved or deleted. 6. The "Panorama" dial: This controls the position within the mix. Right click one of these two control elements and the stereo panorama dialog (view page 220) will open to adjust additional settings like panning laws or the stereo width. 7.
SCREEN ELEMENTS MIDI 1. Arrow: Opens and closes the dialog box. 2. In: Opens the MIDI Input device menu. 3. Out: Opens the MIDI Output device menu. 4. Channel in: Set the MIDI Input channel. 5. Channel out: Set the MIDI Output channel. 6. Program: This button is used in MIDI mode for program selection of the MIDI instrument. The first click activates this field, and the second mouse click opens the program selection. When the menu is open, use the arrow and page up/down keys to make your selection. 7.
SCREEN ELEMENTS Audio 1. The "In" slot determines the audio input device, e.g. your sound card inputs. 2. The "Out" slot determines the audio output device. For example, this might be a sound card output. 3. Delay: This sets the delay value for the track 4. Gain: This regulates the amplification level of the input signal. 5. Plug-ins: You can use FX inserts, MAGIX plugins, DirectX, and VST effects for this track.
SCREEN ELEMENTS Track header 1. Control display: Shows both LED chains for the input and output signal for the track. 2. The "S" button (view page 171): Mutes all tracks except the selected one (track solo function). 3. "M" button: This button mutes the active track. 4. The "R" button (view page 82): This activates the track for recording. 5. The loudspeaker symbol switches on monitoring (view page 27). 6.
SCREEN ELEMENTS Folder tracks The command "Track > Insert new tracks > New folder track" adds a folder track in front of the selected track. If a range across several tracks is selected before creating the folder track, each of these tracks will be added to the new folder track. The tracks in the folder track are displayed within a frame, and the folder track number is appended with an "F" in the track manager.
SCREEN ELEMENTS The following functions work for all tracks found in the folder track: Hide them via the track minimization button (-/+ symbols in the track header of the track folder). All tracks included in the track folder are displayed in reduced size. Mute, lock, and solo Volume regulation All individual volume fader tracks are scaled relative to each other. Focus for recording All tracks in the folder track are displayed when the folder track is open.
SCREEN ELEMENTS Before track objects are rearranged, select the option "New Revolver Track (copy)". The track objects are copied as a new revolver track and a asterisk will appear before the track name. The original objects may now be edited or repositioned to produce a different version of the track.
SCREEN ELEMENTS Toolbars – Overview All toolbars may be moved freely on the screen. To do so, click on the separator at the left edge of the group of icons and drag the toolbar to the desired location. These will snap in at different positions in the window. For example, you can also easily swap the position bar with the toolbar.
SCREEN ELEMENTS To quickly sort a toolbar's individual buttons, click on the corresponding icon and drag it to the desired position while holding down the "Alt" key. You can use the same method to remove icons from the toolbar by holding the "Alt" key, dragging the icon outside the boundaries of the toolbar, and then releasing it.
SCREEN ELEMENTS Toolbar: (right section) Set Marker Set CD track index Set CD sub index Set CD pause index Set CD end index Automatically set CD track Markers Create CD Create DVD Audio Grid toolbar/snap buttons The grid toolbar is available in the toolbar. This enables important changes to be made to the snap settings, without always needing to access the project options dialog (view page 33). Click the magnet button to activate the snap grid.
SCREEN ELEMENTS Grid/frames: Activates the frame-based grid. Specify the snap length (for beat snapping only). Values range from every 4 beats, every 2 beats, every beat, musical measure and same as quantization. The setting Musical measure means that, signatures based on quarter notes serve as a quarter snap unit, and time signatures based on eighth notes serve as a eighth snap unit. The snap therefore follows the time signature and observes any time signature changes.
SCREEN ELEMENTS Punch / Playback bar Play to cut start Play from cut start Play to cut end Play from cut end Play beyond cut Punch In mode Punch recording Set punch in marker Set punch out marker Delete punch marker Cue mode: Playback stops after each object
SCREEN ELEMENTS Mouse mode bar Universal Mode This is the preset mouse mode in Samplitude. All necessary functions are available by left clicking. Depending on the relative position within the track, various functions will be executed. Right clicking always opens a context menu. The vertical position of the mouse distinguishes between object handling and range manipulation within every VIP track: In the upper half, you can select ranges and set the play cursor position.
SCREEN ELEMENTS These special functions enable all important functions to be reached quickly, and accidental movement of an object cannot occur. Curve Mode This mode is strictly for editing automation curves (view page 327). This mode may be opened temporarily via "Universal/range" mode by pressing and holding down the hyphen "-" key. Place the cursor over a curve and click with the left mouse button to set a new curve point.
SCREEN ELEMENTS Cut Mode Click on the object to separate it at the corresponding position. If the grid is switched on, then the scissors tool which appears will move according to the grid settings. Under "System options -> Keyboard/menu -> Special keys -> Temporary key for cut mode (view page 488)", you can specify a keyboard shortcut to keep "Object cut" mode active (provided the shortcut is held down).
SCREEN ELEMENTS Tip: You may also move any plug-in parameter at any time via the small horizontal faders in the track editor's automation box while in an automation drawing mode mode (e.g. touch, latch, overwrite, or trim). Draw waveform in the wave window In "Wave editing" mode, use the left mouse button to draw the waveform of a file. Waveform display shows the suitable zoom level, and the mouse pointer becomes a pencil.
SCREEN ELEMENTS After calling up "Spectral mode" highlight the unwanted noise by drawing a rectangle around it using the mouse. With help from the handle you can adjust the selected area. So that there is no audible gap, removed components of the original frequency spectrum from the wanted signal that surrounds the distortion are recalculated into the recording. After making the correction, you can see the results in the Wave/Spectral display in the Arranger window.
SCREEN ELEMENTS Color mode Color mode enables you to color objects or entire tracks. Click on the arrow next to the brush symbol first. Next, select the desired color. Now move the mouse over the objects and tracks in the arranger: the pointer turns to a paint bucket symbol. Click on the object or track box you would like to color. You may also apply color to multiple objects across different tracks by dragging the lasso over the desired objects (the lasso appears when you drag the paint bucket).
SCREEN ELEMENTS Left mouse button: Changes the background color of the object Right mouse button: Changes the object's wave form color Position bar 1 Section to start One section left Half section left Half section right One section right Section to end Play cursor to previous object edge Play cursor to next object edge Play cursor to previous marker Play cursor to next marker Increase clip size (zoom in) Reduce clip size (zoom out) Show all Zoom to range 1 pixel = 1 sample Predefined zoom range: 1 secon
SCREEN ELEMENTS Position bar 2 Freely defined zoom areas 1-4 Increase section vertically (zoom in) Reduce section vertically (zoom out) Show all vertically Show range vertically Zoom into waveform Zoom out of waveform Overview mode Range bar Play cursor back to range start Play cursor to range end Fold range to left Flip Range right Range start to previous zero crossover Range start to next zero crossover Range end to previous zero stage Range end to next zero stage
SCREEN ELEMENTS Range Editor Move object start left Move object start right Move object(s) left Move object(s) right Move object end left Move object end right Step size for moving objects Object modes: Normal Object Mode This mode moves objects and edits the end and start positions, fade in and out phases, and object volume. "Lock all audio in time" This mode locks all objects to stop them from being moved accidentally.
SCREEN ELEMENTS This function also applies to multiple selected objects arranged along various tracks. Link objects on active track In this mode, all objects on the current track are selected and moved together. Link objects on all tracks In this mode, all objects appearing in the arrangement are selected and moved together from the mouse position.
SCREEN ELEMENTS Moreover, in the section below you will see up to four help topics that contain your search terms. All results that are listed can be directly selected. The commands in the upper section are listed straight away. By clicking on the appropriate help topic the program help will open up displaying explanations from selected topic areas. You can see a list of recent commands by clicking on the little arrow of the magnifying glass.
SAMPLITUDE QUICK START Samplitude Quick Start Initial navigation in the virtual project (VIP) To start playback, press the space bar. To end playback, press the space bar, the pause button, or the "0" on the keyboard. To set the play cursor, click on the desired position in the timeline. To move the playback cursor, use the left and right arrow keys.
SAMPLITUDE QUICK START Creating a VIP First of all, create a new project by clicking the "New multi-track project (VIP)" button in the start wizard on program launch. If you already have Samplitude open, select "New Virtual Project (VIP)..." in the "File" menu. Name your new project and select the file path where you would like to save the VIP. You may also create a new folder where all files relating to this project may be saved. Select "[0] Stereo Master" as the mixer setup.
SAMPLITUDE QUICK START Preparing to record To record from your internal CD/DVD drive or from an external sound source using a cable/microphone connection, it's important that your sound card is connected to the sound source. You can check this by switching on the track which you wish to record. Click the record button in the track header to do this; the button will glow red. The source's input level peak meter now appears in the bar.
SAMPLITUDE QUICK START This will open up Record Options: Select the format for the recording first. Detailed settings for the desired audio format available via "Format options". If record mode is set to 16-bit at a sample rate of 44.1 kHz, then this is equivalent to CD quality. A bit resolution of 24-bit or even 32-bit (float) makes sure that hissing during subsequent editing of the sound material remains at a minimum. On the other hand, the higher the bit resolution, the more space that is required.
SAMPLITUDE QUICK START Metronome settings The dialog "Options > Program settings > Metronome settings" allows you to activate the metronome function. The metronome may also be set as an audio metronome or as a MIDI metronome. Active while playback: This option activates the metronome click during playback. Active while record: This activates the metronome click during recording. Pre-count for recording (measures): Specify the number of beats that the metronome will pre-count prior to recording.
SAMPLITUDE QUICK START Both metronome sounds "Metronom1.wav" and "Metronom2.wav" are preset; these are located in the folder "fx-preset" in the program directory. Volume: This controller regulates the volume of the audio metronome's sounds. Device: Set the audio device for the metronome here. Stereo master is preset, but this may be changed to another audio device output as the source of the metronome. MIDI metronome MIDI output device: Set the device that should produce the metronome click here.
SAMPLITUDE QUICK START arrows on the keyboard to jump to the beginning of the fifth bar. Simultaneously, you can read the bar and beat position in the play cursor of the transport window. If you click on the "Record" button now; recording will start. As soon as you have recorded enough, press the stop button. You will be asked if you wish to save your recording. If you are happy with this, press the "Yes" button. Your recording appears in the project window as a virtual object.
SAMPLITUDE QUICK START Example: An error between beats 23 and 25 needs to be corrected. Playback starts before the punch in position so that the introduction to the recording is made as easy as possible. During the punch process the "Record" button flashes; the recording will start automatically from the "In" marker (bar 23). Since the section following the object is already satisfactory, the recording is ended automatically at the "Out" marker (bar 25).
SAMPLITUDE QUICK START Preparing to record For each track you want to record on, press the "R" button to activate the track, i.e. to prepare it for recording. Click on the button with the loudspeaker to activate monitoring. You can set the maximum gain of your signal from your recording sources. To monitor the peak levels, open the peak meter via each track's context menu (track header -> "Track visualization").
SAMPLITUDE QUICK START As the playback device (MIDI output device), select the MIDI port you use via the MIDI out slot (e.g. MIDI out of your sound card or a VST instrument). If sound cannot be heard when the keys on your device are played, then monitoring likely needs to be activated. Activate this via the loudspeaker button (MIDI thru) for the respective MIDI track. By right clicking the "Mon" button in the transport control provides access to the behavior of the "Record" and "Monitoring" button.
SAMPLITUDE QUICK START Note: Many drum computers send to MIDI channel 10, since this is preferably used as the percussion channel and is even specified as such according to the General MIDI (GM1) specifications. MIDI recording modes The following MIDI record modes are available: normal, overdub, and replace. The different modes determine how the newly recorded MIDI files will be added to the VIP. You can specify the settings for MIDI Record Modes in the transport control.
SAMPLITUDE QUICK START Objects in the virtual project (VIP) Audio and MIDI Audio objects in a VIP always reference one wave file or one partial section of a wave file. MIDI objects also reference a single corresponding MIDI file. In contrast to audio, in which case wave files are saved visibly on the hard disk, MIDI files are saved together with their objects, which links them directly to these objects. Cutting and editing Audio and MIDI objects are cut in the same way.
SAMPLITUDE QUICK START Mixer Use the mixer (keyboard shortcut "M") to adjust the volume and panorama of the recorded tracks as well as automate fader and panorama movements. There are also multiple plugins, submix and AUX buses, a four-band parametric equalizer, inserts for the integration of effects and VST instruments as well as many configuration and bouncing options available, not only for each individual channel, but also for the complete stereo track.
SAMPLITUDE QUICK START What effects are there? In general, the following effect categories are available in objects, tracks, and in the master area: Dynamics Frequency / Filter Delay / Reverb Distortion Restoration Stereo / Phase Modulation / Special MAGIX Plug-ins essentialFX DirectX (only available if DirectX effects are installed) VST FX (only available should the VST effects be installed) ReWire (only available for tracks and if ReWire clients are installed) Analog Modeling S
SAMPLITUDE QUICK START Now click on the arrow symbol for the corresponding field. A menu with the various effect categories will open. Mixer effects To set track effects in the mixer, open the mixer by pressing the "M" key. In the "Ins" section, click the arrow symbol of an effect slot in the corresponding channel. Selecting effects is done the same way as described above. Use the "FX" button directly below the track's channel fader to open a dialog to change the series of effects within the track.
SAMPLITUDE QUICK START The sequence of the master effects may be set in the FX routing dialog, which opens via the FX button beneath the master faders. CD mastering CDs may be burned directly from within the project, without having to export the project as a wave file beforehand. Burning requires that a blank disc be inserted into the drive and a valid TOC (Table of Contents) exists. Place at least one CD track marker and a CD end marker to do this.
SAMPLITUDE QUICK START Mode: Select whether you want to burn your project directly "on-the-fly" (without prior rendering) or whether Samplitude should create a new file beforehand (bouncing). Click "Burn CD". CDR write settings: Enter the desired burn speed here. If to wish to use CD text, open the "CD-Text/MP3 ID editor" by clicking "CD-Text settings" and entering the desired CD text for your tracks. Click on the "Write" button to begin burning.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW General Functions in the Project Window Section "Section" refers to the visible part of a project in the project window. There are many commands for moving (scrolling) the visible section and for customizing its size (zooming). The corresponding commands can be opened via the "View" menu, via the position bar, and via the shortcut keys. Up to three different sections may be displayed at a time in a project (shortcut: "B").
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Select multiple tracks – group track controls To select multiple tracks, choose the tracks by clicking the respective track numbers/track ranges while holding down the "Ctrl" key or the "Shift" key. The selected tracks are highlighted in the arranger, which indicates that they are grouped. Alternatively, the select the desired tracks and then open the track context menu and select "Track properties > Group track controls".
G ENER AL FUNCTIONS IN THE PROJECT WINDOW The context menu featuring commands to group or ungroup track controls may also be accessed by right clicking in the track header area below the last track in the arranger. Note: Multi-channel selection in the mixer functions exactly like multi-track selection in the arranger, i.e. by clicking the track number/name while holding down the "Ctrl" key or "Shift". In order to clear a group of channels, click a channel before than the selection.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Zoom with the scroll bar buttons In the lower right-hand corner of the VIP window, the "+" and "–" buttons may be used for more precise adjustment of the horizontal and vertical zoom levels. A common feature of the preset zoom functions is that they center the play cursor in the visible section, provided it's visible when the zoom command in the section is executed.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Zoom Mode Selecting the magnifying glass icon in the mouse mode bar accesses Zoom Mode (view page 73). Use the right mouse button to zoom out of the project, and click with the left button to zoom into it. Zoom Tool (Shortcut: Z) You can temporarily switch to "Zoom" mode by pressing "Z" and then dragging out a lasso with the mouse.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Detailed information about creating keyboard shortcuts is available in the chapter "Preset shortcuts". Ranges Ranges are selected sections of the arrangement that may be selected for editing or access later on. When creating ranges, you are not bound to object borders, individual tracks, or any other limitations like markers. Ranges that you search for are displayed inverted.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW The play cursor always automatically remains at the beginning of the range, even if you can't see it at this moment in time. To expand the range to other tracks, click on the top half of the selected object again and drag the mouse down vertically while keeping the mouse button held. Now click the section with the "Shift" key held down, and every object featuring a middle point within the selection rectangle will be selected.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Change range borders Timeline selection enables you to change the range edges by positioning the mouse over them. The mouse pointer turns into a double arrow. The range borders may now be changed by dragging horizontally. To change the edge of an existing track range (start, end, top edge, or bottom edge), left click inside the range of the existing area and hold down the mouse button.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Example 2: You wish to remove a section of a song from the VIP window completely. This may be, for example, a verse of a song that should be cut out in order to reduce the overall length of the track. Select a range and activate all tracks by double clicking twice to select the affected verse. Then select "Edit > Delete > Delete with time/ripple" to remove the verse. Example 3: A selected range can be played as a loop.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW The marker manager may also be accessed via "View > Manager > Marker manager". This is where you manage and edit the markers you set. More information about this is available in the chapter "Manager -> Marker manager (view page 147)". To stretch a range between any two markers, first click on the first marker. Then click on the second marker while holding down the Shift key. This selects a new range.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Scrubbing Scrubbing makes it easier for you to find a specific part of the music in the project simply by moving the mouse pointer. Playback occurs while moving the mouse forwards or backwards. By varying the playback speed, it's possible to quickly locate an approximate position and then find the exact position at a reduced speed. If you press the insert key ("Insert" or "0" on the number pad), Samplitude will switch to "Scrub Mode".
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Another way to scrub is to use the scrub control wheel in the transport controls. Right clicking on the scrub control wheel opens a dialog to set variable speed settings as described above. Scrubbing tip: Scrolling is "softer" in case of smaller hard disk HD buffers (250-1000 samples). Test if your computer functions at this buffer size without any playback errors.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW To open a wave project from within a virtual project, point at the lower half of the reference object and double click while holding down the "Ctrl" and "Shift" keys. Alternatively, you can also select "Object -> Edit wave project" from the menu. A wave project is opened in a separate window and displayed as a waveform. The function of the zoom, scroll, range, and marker features does not change for the new window.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Non-destructive wave editing Samplitude also features non-destructive (virtual) wave editing. The advantage of this editing mode is that it works directly in the audio material combined with the features of non-destructive virtual editing. Compared to destructive wave editing mode, the following differences are apparent: The features "Cut", "Copy", "Delete", and "Insert" are non-destructive.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW Drawing waveforms with the pencil tool In "Wave editing (view page 108)" mode, use the pencil tool to draw or modify the waveform of a file. Waveform display shows the suitable zoom level, and the mouse pointer becomes a pencil. Changing the waveform in the wave window is useful if you want to edit very short impulse disturbances manually. Working in virtual projects The keyboard shortcut "A" produces a range that covers everything.
G ENER AL FUNCTIONS IN THE PROJECT WINDOW active, a crossfade will be added to each cut procedure which may be optimized later with the crossfade editor. "Shift + mouse-click" on the 4 zoom buttons S1 to S4 at the bottom of the position list may be used to save each separate zoom setting. Double clicking an object in the VIP opens the object editor. You can select multiple objects one after the other by clicking the lower half of the objects while holding down the "Shift" key.
OB JECT- ORIENTED AUDIO EDITING Object-oriented audio editing Object-oriented editing describes a method which enables the various ways of editing any selected object, independently of other mixer and track automation settings. This results in a high level of flexibility, even on the object level. You can edit sound material considerably quicker, add various effects to individual objects, and assign object-specific AUX components. The original audio files remain unchanged.
OB JECT EDITOR Object Editor The centerpiece of object-oriented working is the object editor, which can function as a tool for a single object as well as multiple ones. Note: There is an object editor for MIDI objects as well. Detailed information can be found in the chapter "MIDI in Samplitude -> Working with the MIDI object editor (view page 244)" The object editor is divided in three sections "FX", "Fades", and "Time/Pitch".
OB JECT EDITOR The section on the far right is the same for all three dialog windows: The object name is displayed in the upper text field and this may also be edited. In the square field to the side you can select the object color. Using the arrow keys you can "jump" up or down to the object of a neighboring track. Use the double arrow buttons to jump to the previous or next object. If multiple objects are selected, these buttons will not be active.
OB JECT EDITOR Play/stop: This button corresponds to the normal playback function (Shortcut: space bar). Phi: The Phi button causes a 180 degree phase rotation. By right clicking on the Phi button you can invert the left and right channels individually. Lock: The activated Lock button corresponds to the key button's switch in the object. The object is then protected against any inadvertent horizontal movement.
OB JECT EDITOR AUX Sends: Any object can send to all available AUX busses. You will see, however, initially only to AUX1 AUX 4. You can adjust the corresponding slider by dragging in the respective AUX Send field. By right click on the blue button in the header the advanced AUX send dialog will open, which provides full access to all AUX send paths. By left clicking on the blue button in the track header you can bypass all AUX sends (Bypass function).
OB JECT EDITOR Balance + stereo enhancer: The pan fader sets the stereo balance. The mid position corresponds to a level of 0dB on both channels. When panorama is moved to the left, the level of the right channel is reduced and vice versa. The stereo button sets the base width of the left attack = 0% = mono via mid = 100% = stereo to right attack = 200% = Enhan. (extreme base widening). -4.
OB JECT EDITOR You can make the automation curves of the selected parameter visible in objects with the "View" option. In both of the lower fields you can select the desired automation parameters. Activate the Automation drawing mode button and draw the object automation curve in the corresponding object. Position/Fades Use this dialog to set object-related time positions (start, length, end) and fade parameter for the selected object.
OB JECT EDITOR In the context menu there are two additional options available for fade-ins: Enable crossfade (left): Use this option to extend the fade-in object to the left over the original object border, depending on the values set in "Fade length". The fade-out of the previous object is shortened accordingly; both fade-in objects will remain linked. Asymmetrical crossfade (left): This option adjusts the fade-in independent of the fadeout to the left past the object border.
OB JECT EDITOR If you click on the "Gear" button the Broadcast Wave Manager will open (view page 471). With the option Reverse playbackan object will be played backwards. The audio files are not changed. Hint: Please note that there are some limitations when using additional effects on a backwards-playing object. This refers to wave editing or using timestretching effects, especially Elastic Audio. Furthermore, reverse playback requires more resources as track speed cannot be used here.
OB JECT EDITOR Timestretching: Enter the speed correction either as a new object length/stretch length or as a factor of the output material, or even as the desired speed in BPM (beats per minute). The button "<< from loop or range" makes it possible to extract the BPM value from one selected range or the object length and enter it as the "Original BPM". Enter the number of quarter notes in the dialog that opens and then confirm with "OK".
METHOD S FOR WORKING WITH OBJECTS Methods for Working with Objects Integrating wave files as objects in the VIP This is how to add a wave file to your virtual project as an object: Click somewhere in the upper half of the desired track at the position that should display the beginning of the new object. The play cursor now moves to the position at which the object will be inserted. The track is selected. In the "File" menu, select "Load/import" and then "Load audio file".
METHOD S FOR WORKING WITH OBJECTS Increase the performance of your computer by importing compressed formats like MP3 or OGG-Vorbis instead of simply loading them to bypass real-time decoding. Integrating CD tracks as objects into VIP You can also import tracks of an audio CD into your project. Click anywhere in the upper half of the desired track at the position that should display the beginning of the CD track. The play cursor now moves to the position where the CD track will be inserted.
METHOD S FOR WORKING WITH OBJECTS Object handles When an object has been selected, five handles appear at the corners and at the center of the object. The length handles are at the bottom left and right corners. Use these to adjust the length and starting time of an object within the wave project. Use the object editor to change the length as well. The length of an object depends on the audio file that is accessing the object. The longer the audio file is, the longer the object can be.
METHOD S FOR WORKING WITH OBJECTS The current object selection may be reversed (invert). To do this, select "Object > Select objects > Switch selection". Moving objects A simple move: Left click an object in the lower half of the object and hold down the mouse button. The object will follow the mouse movement. Release the object at the desired position (drag & drop). You can move an object in another track.
METHOD S FOR WORKING WITH OBJECTS To move selected objects downwards across the visible section in the arranger, hold the mouse pointer to the lower horizontal scroll bar; after a moment, the arrangement will scroll downwards so that the selected objects may be moved to the tracks below. nudging objects "Object -> Move objects > Object step 1/2" features a number of commands for specifying individual keyboard shortcuts in the system options.
METHOD S FOR WORKING WITH OBJECTS Mute objects You can mute the activated objects using the "Ctrl + M" shortcut or with the mute button in the object editor. You also have the option to mute either the left or right channel. Note: If you've selected several objects and want to mute them collectively, make an object mute and use the "Apply to all" checkbox to apply this to the group. Change waveform view The waveform view may be adjusted in "View -> VIP display -> Define...".
METHOD S FOR WORKING WITH OBJECTS Reverb in the object Reverb times fade away if the Reverb effect in the routing is situated after the "volume". For standard routing, only the post DirectX/VST plug-ins or internal delay effects apply.
METHOD S FOR WORKING WITH OBJECTS For reverb times with RoomSim change the effects sequence so that "Volume" is placed before the "FX inserts". The reverb time depends on the option "Maximum reverb time for objects without fadeout (sec.)", which is located in the playback options (view page 578).
METHOD S FOR WORKING WITH OBJECTS Locking objects Just click the key symbol on the lower border of each object to protect an object against accidental moving. This function corresponds with the "Lock" command in the object editor. Clicking on the key symbol again unlocks the object. Multiple selected objects may be locked with a mouse click. The menu entry "Object -> Lock objects -> Lock objects" applies to single and multiple objects.
METHOD S FOR WORKING WITH OBJECTS The take manager (view page 150) provides an overview of the versions of destructively edited files and select them for the respective object. In order to reference audio files for other objects in the VIP retroactively, click the folder symbol in the object editor to the right of the audio file.
METHOD S FOR WORKING WITH OBJECTS Moving to a defined position The following options are provided for moving an object to a specific position: 1. 2. 3. Right click on the object you want to move. In the context menu that opens, click "Objects/move crossfade/edit -> Move object...". A window opens to enter the value of the new starting position in samples, milliseconds, SMPTE time, or beats. Open the object editor to enter the desired position under "Object start".
METHOD S FOR WORKING WITH OBJECTS To learn more about grouping tracks (multi-track selection), see "Working in the project window -> Selecting/grouping multiple tracks (view page 98)". Linking objects This is how to link objects in a track: Click the button "Link all tracks" in the mouse mode bar. All of the sequential objects on the timeline will now be linked with the selected object. Click the button "Link one track" in the mouse mode bar.
METHOD S FOR WORKING WITH OBJECTS If you hold the keyboard shortcut "Ctrl + V" before releasing, then the shorter object will also replace the longer object across the entire length of the shorter object, but the end of the longer object that extends past will remain. Now try it the other way around and drag a longer object over a shorter object; the shorter object will be replaced from the start position of the longer object if its start position lies behind that of the shorter object.
METHOD S FOR WORKING WITH OBJECTS Gluing objects If you wish to combine two objects into one, select both objects and right click on one of them. In the context menu that opens, select "Glue objects". This creates a new file that is saved in the "FreezeData" folder in the project folder. If you uncheck "Freeze" in the object editor of the new object, it will be separated into its old components.
METHOD S FOR WORKING WITH OBJECTS Replacing an audio file below the object Open the object editor and switch to the view "Position/fades" or to "Max" view. Now click the folder symbol in the object editor to the right of the name of audio file. A new wave file may be selected in the following dialog. „ Moving audio material below the object By pressing the right Ctrl button and clicking the lower part of the object, you can move the audio material below an object by clicking it.
MANAGER Manager The managers combines frequently required management and control functions within one window, such as for markers, tracks and CD tracks. This includes a file browser for finding, previewing and loading media files. The manager may be opened inside or outside of the Docking bay (view page 50). The manager window is multi-monitor enabled and saves the last position when closing. Multiple managers in various different views can be opened simultaneously and independently of one another.
MANAGER File browser Samplitude contains a file manager for previewing and loading files directly into projects. The browser may be used to create favorites folders and provides access to all recently opened folders. To display the file manager, click the "Manager" button in the toolbar, and then select the "Files" tab in the manager window.
MANAGER Just like other manager windows, the "Search" option searches in the current window for directories or files. Enter a search item into the box and press the search button. Any located directories or files are highlighted. You can find and highlight several entries that meet the search criteria by entering one or several first letters. To the right in the file manager, the current directory may be added or deleted as a favorite to your favorites list. Click a favorite to open it.
MANAGER Load files from the file manager into projects Media files may be inserted into an opened project at the desired play cursor position via drag & drop or by double clicking. If the file browser list is in the foreground, press "Enter" for the same effect. Right clicking the desired file opens a context menu. This enables you to open, rename, and delete files and folders.
MANAGER File manager options Additional options may be accessed via the small gear icon: Loading options Use selection order of file dialog: If this option is activated, Samplitude remembers the sequence in which the files were selected and then sorts them accordingly. Load files in alphabetical order: If this option activated, Samplitude sorts the selected files alphabetically in the VIP.
MANAGER Convert compressed files to wave format: Compressed audio formats such as MP3 may also be loaded and played directly by Samplitude. This does, however, require increased CPU calculation. Activate this option to convert files like this into an uncompressed wave format. Extended file search Additional criteria are available for extended file searching, e.g.
MANAGER Object manager The object manager lists all objects contained in the current project and makes it possible to edit selected object parameters. To display the object manager, click the "Manager" button in the toolbar, and then select the "Objects" tab in the manager window. Menu: Keyboard shortcut: Tools -> Manager -> Object manager Ctrl + Shift + O You can export object manager information as a text file. Click "Export text" in the toolbar to do this.
MANAGER Click on the “+” symbol left of the track number to explode the view of a single track. Select objects: A square check box in front of the object name enables select of a single or multiple objects. This is also visible immediately in the project window. If an object that is part of a group is selected, the other objects of the selection will also be selected in the project window and object manager. Grouped objects are also recognizable via the number of the object group in the "Group" column.
MANAGER Track manager All tracks in the current project are displayed in the track manager, which allows direct access to the "Solo", "Mute", and "Record" functions, as well as hiding tracks in the project window and mixer. To view the track manager, click on the "Manager" button in the toolbar and then select the "Track manager" tab at the bottom of the manager window.
MANAGER Hiding and displaying tracks Besides the "Solo", "Mute", and "Record" features, you can also hide tracks. To remove a track from the project window or mixer, click the check the box in the "Arranger" or "Mixer" column. Hidden tracks are still available and are still played and edited while they are hidden. To display a hidden track, reactive the check box. Write text file Click the "Export text" button and Samplitude will create a text file with a listing of the tracks used in your project.
MANAGER Marker manager information may be exported as a text file. Click on the "Export text" button in the toolbar. The Windows text editor opens with an excerpt from the marker manager list. The following information will be saved: Project name Marker position in project Marker type Marker name ISRC (International Standard Recording Code) for CD markers You can find the file in the project file (Projectname.txt).
MANAGER Range manager The range manager displays all areas contained in the current project and makes it possible to select them directly from the list. To view the range manager, click the "Manager" button in the toolbar and then select the "Ranges" tab at the bottom of the manager window. Menu: Shortcut: Tools -> Manager -> Range manager Ctrl + Shift + Alt + B Defining and searching for ranges Defining ranges: To save a range in the manager, define a range in the project window first.
MANAGER Take manager Menu: Keyboard shortcut: Tools - > Manager -> Take manager Ctrl + Shift + Alt + T The take manager offers you a convenient option for selecting and organizing recording takes, loop recordings (view page 86), and destructive object edits (view page 131). When graphical comping with the take composer (view page 152), you can edit together a new take from available take sections.
MANAGER The basis for working with the take manager is always a selected object, e.g. the most recently created object after a punch-in recording. The current object take is identifiable via the check mark in front of the name in the take list. All the takes matching the selected object are shown in the list. In the basic settings, this refers to all the takes from the same track and original position.
MANAGER Take management for multi-track recordings For multi-track recordings, each recording creates associated classified takes on each track. All simultaneously recorded objects are grouped and also given the same take name. Switch takes on all tracks: This allows all takes of a multi-track recording to be exchanged in one step. Note: Since the take manager display refers to the last clicked object, the reference track may be switched at any time.
MANAGER In the take composer use the space bar to initiate playback in sync with the arranger. In the manager's marker menu you can specify, if you want to display Revolvertracks, if the take composer should open in its own window or should be docked to the arranger, and if the take manager should run in sync with the arranger. To quickly execute comping (see below), switch to "Cut" mode or close the take composer.
MANAGER A range will also be created that stretches from the cursor position across all selected objects. To listen to the individual receiving passages switch the corresponding track to "Solo" and start playing. The default solo modus is "Exclusive solo". In case multiple takes or tracks should be played back simultaneously in the take composer, click the corresponding track numbers and then press the shortcut "Alt + S"in the corresponding track header for the desired tracks.
MANAGER The keyboard combination "Shift + click" replaces an object in the comping track with the contents of the take composer track over which you are holding the scissors tool. To play a take from the cursor position in "Cut" mode, use the keyboard shortcut "Ctrl + mouse click". Comping in "Universal" mode or in "Range" mode Another comping option is to select the desired take range in a track. In "Universal" or "Range" mode, drag out a range in a take composer track.
MANAGER VSTi manager The VSTi manager facilitates easy display, insertion, and deletion of MAGIX, VST, and ReWire instruments in the current project. Right clicking the selected instrument opens the plug-in dialog for the selected VSTi. If the plus sign beside the instruments display is clicked, the outputs to the assigned tracks will be shown. By right clicking "Output to track", a track may be selected which should only be fed the individual output of each.
MANAGER Similarly, an AUX bus may be routed to an individual track. Right clicking allows you to define the AUX bus as a pre-fader send or as a sidechain send, or access the stereo editor for panorama specification for the respective AUX bus. Soundpool manager In the Soundpool Manager you can integrate you Soundpool loop content in a clear form. In the input field next to the magnifying glass enter a combination of letters which should be in the loop you're looking for.
MIXER Mixer Mixer overview You can open the Samplitude mixer via "Window > Mixer". The mixer is very similar to a hardware mixing board. As a result of the digital environment, however, Samplitude's mixer is far more flexible than an analog mixer. All settings made in the mixer are processed and edited in real time. This includes track and master effects, panorama and level settings, device assignments for individual tracks/buses, and device assignments for the master section.
MIXER Mixer keyboard shortcuts Cursor buttons: Use the cursor buttons on your keyboard to select the various mixer elements and select active elements (fader, knob or switch). Page up/page down: Changes the value of the active mixer element. Hold the "Ctrl" button simultaneously to change the value in large increments, and hold down the "Shift" button for smaller increments. Home: Resets the mixer element to its preset (passive) initial value.
MIXER Left clicking on value displays: Clicking on the area below the faders or on the left button corners decreases the values. If the mouse is held down, the value is automatically reduced until the key is again released or the end of the scale has been reached. (Shortcut: Page down) Clicking on the area above the faders or on the right button corners increases the values.
MIXER Note: If a certain effect is already available, a repeat drag and drop of the same effect onto the same track performs a reset of the effect to the values of used effect, and does not copy it; the original values will be overwritten. If all you want to do is move shift effects between the channels in the mixer instead of copying them, simply keep the Shift button pressed while dragging & dropping. Channels Each track in the VIP is fed through a specific mixer channel.
MIXER In: Specifies the audio input for recording. Gain: The mixer adjust the input amplification for the respective channel. AUX sends: This section allows you to activate and set up the AUX component for different AUX buses (view page 172). Open a menu by right clicking for advanced settings such as Pre fader send, "Sidechain send" or AUX pan editor". The upper "AUX" button above turns all AUX paths either active and inactive, which effectively makes it an AUX bypass switch.
MIXER Detailed information about the stereo panorama dialog can be found in the chapter "Stereo panorama dialog (view page 220)". Link: This button connects the corresponding channel with the one to the right of it. All faders, panorama, input, AUX sends, as well as EQ settings and adjustments now affect both channels. Both panorama faders are linked through inverse selection.
MIXER should match the MIDI velocity scaling (view page 244). To do this, right click the track's volume fader. Note that a virtual synthesizer's audio output can usually be created, edited, and mixed on the same track as the MIDI data the instrument is receiving. In some cases, this results in duplicate use of the volume fader which, on the one hand, controls velocity or MIDI volume (CC7), and on the other, this controls the audio level. These are not identical parameters.
MIXER Master section The master section can be found to the right beside the channel strips. Master plug-ins: This function can be used to set effects inserts, MAGIX plug-ins, VST or DirectX plug-ins for the master out signal. Right click on the control button to show the plug-in dialog. To switch the plug-in effects on or off quickly, click the control button. De-hisser: The "De-hisser" mastering effect helps reduce existing distortions like high-frequency hissing.
MIXER Hint: Click the level display in stopped state, and the play cursor will jump to the position indicated by the level. Link: This key connects the left and right channels of the master signal. Faders: Both of these faders adjust the left or right master signal. Reset the faders to the 0 dB position by double clicking them. FX: Opens the effects/routing dialog for editing and configuring any number of effects chains. This specifies the sequence of the effects.
MIXER Note: If the settings for the master playback device are changed, all tracks routed to the master will also automatically change settings. If this automatic process is not helpful, select "Master inactive" before setting up a new device. Global buttons Some further buttons for adjusting the global settings of the Mixer window and Mixer handling can be found at the right side of the Mixer window.
MIXER To group track controls, select the desired elements while holding down "Ctrl" and then activate "Group track controls". To ungroup, choose one of the elements in the group and then press "Ungroup controls". Note: If you have previously selected multiple tracks, this is also available to group selected controls in case the same control elements are involved.
MIXER Snapshots:The Snapshot Function is particularly useful to compare various Setups with each other. You can easily switch between setups. Naming snapshots is possible by double clicking the name field. Right clicking a snapshot opens a context menu to save, load, or delete snapshots or to switch snapshot banks. Using this process, up to 32 mixer snapshots can be saved. Save mixer to file: Save mixer settings to a separate file via this menu item.
MIXER Solo/monitor volume fader A solo and a monitor level is available in the master section of the standard mixer. The solo fader controls the monitor volume in "Solo" mode, while the monitor fader influences the level on the monitor output. The audio monitoring point may also be set using the AFL/PFL switch.
MIXER Solo/monitor bus (in the "Hybrid Engine" only) Use this bus to monitor tracks individually by pressing the corresponding solo buttons without influencing the stereo sum signal. This also affects mastering or live mixing. The signal may be accessed at two different positions: PFL: PFL (pre-fader listen) accesses the signal before the faders and effects, but after the input gain.
MIXER deactivated for the channel previously switched to solo. This enables you to quickly "walk through" individual channels. To listen to the AUX return channels on the channels switched to "solo", select "Global: Solo safe" mode as well. Note: While in "Global: Solo exclusive" mode, to still be able to listen a single channel in "Solo exclusive" mode, click the channel's "solo" button while holding down the "Shift" + "Alt" keys.
MIXER Submix or AUX busses are always meant for stereo busses. Submix and AUX buses may be used for all channel effects, including volume, panorama automation, and AUX send. The outputs may be routed for any channel to output devices or other submix buses with higher channel numbers. Automation of AUX and submix busses works the same as on all other channels. AUX Routing By right clicking on a mixer channel's AUX button the AUX routing dialog will open.
MIXER Effect routing/plug-ins dialog Open the effects routing/plug-ins dialog to specify the most important settings for real-time effects/plug-ins. This dialog is available at object level ("FX routing" in the object editor), channel/track level ("FX" button in the track editor), and at mixer level ("FX" button in the stereo channel strip). Effects Sequence/Plug-ins All available effects are displayed in the effects list in the respective context (track, object, or master).
MIXER You can add plug-ins via the "Plug-Ins" dialog: Plug-ins pre or post The plug-ins dialog enables you to introduce effects "Pre" or "Post". Highlight "pre" or "post" in the plug-in list before loading a plug-in. The plug-in is then inserted "pre" or "post" fader, respectively. Effects may be moved freely into the track editor or mixer channel's insert slots, but they are limited by the fixed position of the plug-ins in sequence (view page 174), e.g.
MIXER Plug-in latency/force latency: Samplitude works with latency compensation for all plugins. Plug-ins report their latency to Samplitude, and this value is transformed into a time shift in the audio material; time shifting no longer occurs when plug-ins are used. If the values reported by a plug-in remain incorrect (time delays result from the use of a plug-in in spite of this), then you can force a specific latency value to compensate.
MIXER To integrate ReWire applications into Samplitude, find the ReWire-compatible instrument that you want to connect to Samplitude in the "MIDI out" slot of the track editor via "New instrument -> ReWire". The ReWire application's instrument outputs can be opened via the "Audio in" slot for each track. The tempo is always oriented according to the settings specified in Samplitude, i.e. Samplitude is the master.
EFF ECTS – ORGANIZATION AND WORKFLOW Effects – organization and workflow In general there is a difference between effect types.
EFF ECTS – ORGANIZATION AND WORKFLOW Plug-in effects Besides internal effects, additional effects may also be applied as plug-ins. Samplitude supports plug-ins in the following formats: MAGIX plug-ins: A selection of included plug-ins, including Analog Modelling Suite (only for Samplitude Pro X) Vintage Effects Suite, Am-munition, essentialFX (efx), Vandal, and VariVerb Pro.
EFF ECTS – ORGANIZATION AND WORKFLOW Saving new effects parameters In many new effect dialogs you now have direct access to the automation button and therefore to the automation menu. This is made possible by a newly created header in the respective dialogs. In the presets input field you can load, save or delete presets. Here the overview of the other control elements: Bypass: The algorithm is removed from the signal route.
EFF ECTS – ORGANIZATION AND WORKFLOW Effect routing The sequence of all real-time effects may be adjusted individually for each track. This enables individual sequences to be set for the effects. Detailed information about the FX routing dialog is provided in the chapter "Mixer - buses and routing -> Effects routing/plug-ins dialog (view page 174)".
EFF ECTS – ORGANIZATION AND WORKFLOW Routing the effect First, replace the description FX01, FX02, etc. in the name column with the name of the integrated effect. Clicking the next column opens a selection of the available output devices to feed your effect device as an effect send function. In the "Input device" column, select a free input device as a carrier for the effects return channel.
EFF ECTS – ORGANIZATION AND WORKFLOW Creating effects send and effects return tracks The lower part of the "External effects" dialog lets you create effect tracks for your external effect device. Effect as AUX Under "Add effect tracks", select the options "Add FX Send track" and "AUX bus", then tick the box beside "Add FX return track", and finally click the "Create tracks" button.
EFF ECTS – ORGANIZATION AND WORKFLOW Note: Make sure input monitoring is switched on for the effect return track. Activate the loudspeaker button in the return track to do this. The loudspeaker symbol is highlighted and you will hear the effect return signal. The routing settings for each channel may also be adjusted in the track settings dialog. Right click on the track name to start.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Effects and Plug-ins in an Overview Real-time effects at track, object, and master level Amplitude: Normalize, normalize (quick access), loudness adaptation, fade in/out, set zero Dynamics: Dynamics, advanced dynamics, multiband dynamics, sMax11, efx_Compressor, eFX_Gate, AM-munition (Samplitude Pro X Suite), AM-track (Samplitude Pro X Suite), AM-phibia (Samplitude Pro X Suite), AM-pulse (Samplitude Pro X Suite) Frequency/Filter: Parametric EQ, EQ116, FFT filter/spectra
EFF ECTS AND PLUG-INS IN AN OVERVIEW Cleaning/Restoration Suite (optional) With the optional "Cleaning/Restoration Suite" the following cleaning effects are available as real-time effects and as offline effects: DeClicker/DeCrackler: The DeClicker removes crackling and clicking noises, which are typical on scratched records.
EFF ECTS AND PLUG-INS IN AN OVERVIEW MAGIX Plug-ins MAGIX plug-ins are effects that are accessible via the track editor plug-ins, object editor plug-ins, track header plug-ins selection menu, track header plug-in button, the insert section in the mixer, or via the "Effects" menu.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Object synths Synth objects represent a special form of synthesizer. The instrument selected, i.e. the synth object, is a component of the object created. Objects created in this way are not based on previously created MIDI data. They may be edited easily and can therefore be conveniently used as an audio building block. Synth objects therefore form individual synth objects.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Atmos Atmos is a synthesizer that can be used to easily create realistic nature sounds. From thunder and lightning to animal sounds and traffic noise, Atmos helps you design naturalsounding atmospheric noises for your projects. In the upper edge of the window, select "Scenario", the top category. Select a nature sounds category (e.g. "Thunder and Lightning") here.
EFF ECTS AND PLUG-INS IN AN OVERVIEW BeatBox 2 BeatBox 2 is a 16-voice pattern-based drum computer featuring hybrid sound synthesis and a step sequencer. The interface includes a multi-effects section (one effect per drum instrument), auto copy, and a convenient velocity editing function. A drum sound is created in BeatBox 2 using a sample, which is combined with a synthetic sound that can be created using up to three different synthesis models (hybrid sound synthesis).
EFF ECTS AND PLUG-INS IN AN OVERVIEW Maximized BeatBox 2 plus window: 1. 2. 3. 4. 5. Drum kit: This section is where drum kits (collections of different drum instruments) and the individual drum instruments are loaded. Selected drum instrument: The settings in the synthesis section (5) and velocity/automation (4) always affect the selected drum instrument. Pattern editor: Programs the beat sequence.
EFF ECTS AND PLUG-INS IN AN OVERVIEW BeatBox - drum kit This section loads drum kits (collections of different drum instruments) and the individual drum instruments. You can also try out an already programmed pattern with different kits or exchange individual drum instruments. 1. 2. 3. 4. 5. Select drum kit: Use the <> buttons to cycle through the different drum kits. A drum kit is a collection of percussion instruments with matching sounds, e.g. rock kit or electronic drums à la TR 808.
EFF ECTS AND PLUG-INS IN AN OVERVIEW BeatBox - pattern editor buttons 1. 2. 3. 4. 5. 6. 7. Pattern: Use the <> buttons to switch through the different patterns. The arrow to the right opens a list of all available patterns, and the save button stores the current pattern. Clear track/all: All events for the selected instrument (track) or all events for the pattern (all) are removed by clicking this button. Bar selection: The bar you wish to edit may be selected via the corresponding number button.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Shift + double click: Select everything in the selected beat. Ctrl + shift + double click: Select everything A single mouse click cancels the selection. The selection is automatically canceled after copying. To keep the selection, hold down "Ctrl" while copying. Many functions in BeatBox 2 can be controlled with the keyboard; for example, a beat may be triggered with the "Enter" key live in a running pattern.
EFF ECTS AND PLUG-INS IN AN OVERVIEW BeatBox - automation Every parameter for a drum sound, including effects, may be automated, i.e. so that it changes during a pattern. For example, make your snare drums more lively by adding higher voices to loud hits or by setting accents on individual hits with reverb effects. The synthesizer section below enables the selection of a parameter for automation via the small blue LEDs above a parameter controller.
EFF ECTS AND PLUG-INS IN AN OVERVIEW The "Copy" button copies the selection to the clipboard. If you select this or that track in another editor, you can paste the notes there now from the clipboard. If the target selection is larger than the contents of the clipboard, then it will be inserted again. This lets you quickly add a short section throughout the complete length of the pattern. The three handles allow the velocity or automation values to be edited together.
EFF ECTS AND PLUG-INS IN AN OVERVIEW BeatBox - synthesizers Use the lower section of BeatBox to set the sound for the selected drum instrument. Synthesis in BeatBox 2 consists of a combination of a simple drum sampler and a synthesizer. There are three different synthesis models possible for the synthesizer: "Phase distortion synth" (FM synthesis), "Filtered noise", and "Physical modeling". The mixed signal of both components is then processed by a multi-mode filter.
EFF ECTS AND PLUG-INS IN AN OVERVIEW BeatBox - effects section Each of BeatBox 2's drum instruments includes an effects unit which is fed in after the actual sound synthesis and editing. Each of these effects units includes a series of highquality algorithms to add "audio polish" or to place the sound in a production-typical context. 1. 2. 3. 4. FX on/off Parameter controller: An effects module includes four adjustable parameters.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Produces a typical "floating/shimmering sound" by modulated detuning of a signal to "thicken up" its sound or spread it across the stereo field. Detuning is achieved via a short delay, the length of which can be varied by the modulation. This produces the so-called "Doppler" effect. Parameters -Time: Delay time in milliseconds. This may be understood as the "base" modulation that is stretched or compressed by the modulator.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Parameters - Decay: Reverberation length - Damp: Damping of highs to simulate absorption via air, wall materials, and objects - Mod: Modulation strength Lo-fi This algorithm gives the sound a little bit of "grit", or a certain measure of signal destruction depending on its setting. An ideal partner for creative sound design.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Parameters -Input: Input level ·Attack/release: Time constants for compression. ·Ratio: Compression ratio Synthesis models The sound synthesis in BeatBox 2 consists of a simple sampler and a synthesizer which includes three different synthesis modules. Sampler The sampler plays short sound recordings ("samples") in different pitches. The sampler is used to create all kinds of drum sounds; the sounds are static and unnatural if the pitch is not altered.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Loop Designer The Loop Designer unifies the notable style elements of the Drum'n'Bass genre in a single device: twisted beats and throbbing bass lines. Create authentic drum 'n' bass sounds without previous experience using this machine. The upper half of the synthesizer controls the rhythm section, and the lower half controls the bass section. Between this on the left edge, a symbol is provided to control both sections or shut them off.
EFF ECTS AND PLUG-INS IN AN OVERVIEW 1: Play drum loop from start 2: Play drum loop from second note 3: Play drum loop from third note 4: Play drum loop from fourth note Reverse symbol: Play in reverse from this position Stop symbol: Stop playback Right click the step cells individually to delete them. The "Clear" button the right deletes all step cells; the drum loop is played back in its original condition.
EFF ECTS AND PLUG-INS IN AN OVERVIEW LiViD - Little Virtual Drummer MAGIX LiViD is a great help for creating songs. Only a few details need to be entered for it to play a complete drum track with an intro, verses, refrains, fill-ins, etc., and it provides the exact structure for the entire song. Brilliant stereo drum samples, played by studio pros and adjustable via the "Humanize" effect, create a genuine drum feeling and the perfect sound.
EFF ECTS AND PLUG-INS IN AN OVERVIEW MAGIX synths Samplitude includes Robota, Vita, and Revolta 2, software synthesizers based on VST technology Robota: Eight voice drum computers for "mean" electronic beats. Vita: A sampler with incredibly realistic-sounding, "classic" instrumental sounds like different guitars (power chords, clean electric guitar, acoustic guitar, bass guitar), different pianos, percussion, strings, brass, woodwinds (each as an individual set & as an ensemble set), and much more.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Robota Pro Robota is a single octave drum computer VST instrument that is based on virtual-analog synthesis. You can access it via the first plug-in slot of any track by selecting "MAGIX Synth > Robota". Samples are not usually used as drum sounds, but rather the sounds are created in realtime with a specialized drum synthesizer.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Tube simulation Compressor Volume + pan Output routing for stereo output pair 1 4 Sorting of 8 instruments as "drum kits" "Setup" files as overall machine status (pattern + instrument setting + further settings) "Config view" with enhanced settings (MIDI trigger, controller matrix, performance parameter, etc.). Robota - sound synthesis The eight voices of Robota are setup identically.
EFF ECTS AND PLUG-INS IN AN OVERVIEW (to edit in "Stop" mode, ensure that you have activated input monitoring in Samplitude). Robota provides 8 audio outputs as 4 stereo pairs. It makes sense to use more than one stereo pair to edit patterns with many tracks and individual sounds separately in Samplitude's mixer. When editing an instrument, choose the output to send to (horizontal slider below the display). All instruments are routed to the output pair 1 by default.
EFF ECTS AND PLUG-INS IN AN OVERVIEW buttons of the sequencer. Doing this, you may model an individual event within the sound and, for multi-beat sequences, program very lively and “crazy” processes. This enables you to program melodies by changing the tuning of the affected steps (make sure that the oscillators are working in “Chromatic mode” via config view. Automating a drum instrument using snapshots: 1. Set the editing mode to "Snap". If you are editing during playback, switch off “Follow”.
EFF ECTS AND PLUG-INS IN AN OVERVIEW preset name will be selected. However, you may also enter a new file name and delete unused presets from the folder view. (Note that Robota always uses the predefined directories, even if you switch to somewhere else. You cannot save files in a different location.) Robota organizes sounds and beats according to the following hierarchy: An individual drum sound is saved to an “instrument”. The 8 instruments may be saved together as a “drum kit”.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Robota - config view Use the wrench symbol in the top right of Robota to access the back of the device. Change the following settings here: “MIDI play” section: Set the MIDI receive channel to trigger the 8 voices externally Specify the “trigger keys” for the individual instruments MIDI controller matrix: The left list features a selection of „MIDI Control Change (CC)“ numbers for operating the controllers of the currently selected instrument externally.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Robota - MACHINE GLOBALS section Accuracy vs. CPU: “Normal” is selected by default; a compromise of an appropriate timing and medium CPU load. “High” is even a bit “tighter”, particularly in the event of intensive use of the filter modulation and the pitch envelope. You should only use “low” if the processing time is exhausted due to other instruments or effects, since the timing and the envelopes are less prioritized.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Vita Vita is provided as an installation option. The MAGIX Vita synthesizer specializes in realistic playback of "real" instruments by utilizing sampling technology. Short samples of real instruments in different pitches, playing techniques, and volumes are used, combined, and played again at the correct pitch. The VITA synthesizer is controlled via the MIDI objects. Vita - the interface 1.
EFF ECTS AND PLUG-INS IN AN OVERVIEW 3. AMP: This is the volume envelope. This influences the temporal progression of a track's volume. A(ttack) stands for the volume increase at the start, D(ecay) for the length of time the decrease in volume takes on a section set with S(ustain) at the maximum volume. R(elease) is the length of time it takes for the sound to ring out. 4. FILTER: Switch on a filter to influence the sound here. FILTER TYPE selects the filter type.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Revolta 2 Revolta 2 is polyphonic and may be played with up to 12 voices. It includes a series of additional features, like an additional noise generator, a step sequencer, and an extra flexible modulation matrix. Its effects section of 9 different effects and presets, designed by a famous designer, make it a full-fledged synthesizer for all kinds of lead, sequence, and pad sounds. REVOLTA 2 has a whole array of presets.
EFF ECTS AND PLUG-INS IN AN OVERVIEW 3. AMP: This is the volume envelope. This influences the temporal progression of a track's volume. A(ttack) stands for the volume increase at the start, D(ecay) for the length of time the decrease in volume takes on a section set with S(ustain) at the maximum volume. R(elease) is the length of time it takes for the sound to ring out. VEL specifies how much the envelope curve depends on the velocity. 4. FILTER: Switch on a filter to influence the sound here.
EFF ECTS AND PLUG-INS IN AN OVERVIEW Plug-ins at track, object, and master level MAGIX Plug-ins > Analog Modelling Suite: AM-Munition, AM-Phibia, AM-Pulse, AMTrack (Samplitude Pro X Suite). AM-munition is an extremely versatile, dynamic tool for editing groups or signal sums, especially in the domain of mastering. It has separate units like compression, filtering, sidechain, limiter and clipper.
EFF ECTS AND PLUG-INS IN AN OVERVIEW MAGIX plug-ins -> Vintage Effects Suite: CORVEX, ECOX, FILTOX This suite enhances the repertoire of Samplitude with a chorus/flanger, delay, and filter plug-in. CORVEX, ECOX, and FILTOX are each based on the same basic handling principle: as required, a modulator (LFO) controls almost all of the controllers accessible via the "frontplate".
EFF ECTS AND PLUG-INS IN AN OVERVIEW VST/DirectX/ReWire: All DirectX plug-ins installed on your system are written into the Windows registry and are available via the effects slot or the menu item "Effects -> Object DirectX/VST plug-ins". At track or master level, you can access plug-ins by clicking on the "FX" button. VST FX: This is a list of all VST effect plug-ins included in the VST plug-ins folder.
REMIX AGENT Remix Agent The Remix agent is a powerful tool for determining the BPMs (beats per minute) and the time position of quarter note beats of any song. Detailed descriptions of the Remix Agent can be found in the menu reference in "Menu > Object >Remix Agent".
ST EREO EDITOR Stereo Editor Right clicking in the panorama controller in the arranger, mixer, and track editor allows you to change panning from the left to right channels for every track in the stereo editor as well as further settings related to the phase of the track. Note: The settings made here are not effective if the track is routed to a Surround bus or Surround master, or if the option "2-channel Surround mode" is activated. In both cases, the Surround editor is used for panning.
ST EREO EDITOR Copy L-R Change the channel assignment of the tracks here. If you activate "Copy L -> R", only the left channel will be audible on both sides; "Copy R -> L" has the same effect for the right channel. Activate both options so that the left and right channels are swapped.
ST EREO EDITOR MS-Processing "MS" stands for "Middle/Side" and describes the process by which the channels are separated not into left and right, but into middle ("M") and side ("S"). MS recordings With MS microphone setups files will be received after recording with separate middle and side parts, rather than a left and right channel. With the stereo panorama dialog's presets provided you can edit MS recordings (here we assume that these are available as a stereo file with M left and S right).
SURROUND SOUND Surround Sound Samplitude offers several possibilities for mixing audio material in various multi-channel formats. One of the pre-requirements is the use of a mixer configured with a Surround Master corresponding to the target format. So-called target formats are 5.0 ITU, 5.1 ITU, or 7.1 SDDS (for example). In "Project Surround Setup" (File > Project Properties > Mixer Setup > Surround Master > Setup) you can route the channels of the Surround Master to any playback devices you like.
SURROUND SOUND Besides the audio track's channels, the mixer in the new VIP now also contains the Surround master in the selected format (e.g. 5.1 ITU L, R, C, LFE, Ls, Rs). All mixer channels for the corresponding project tracks are automatically routed to the Surround master. The mixer's stereo master will be hidden initially, but it may be displayed by clicking the "Master" button in the mixer. The individual mixer channels may be routed to either the Surround master or the stereo master.
SURROUND SOUND Presets Previously added Surround formats may be accessed and new formats may be saved here. A preset features the Surround buses, their name as an abbreviation, the sequence, and the position coordinates of the speaker. When loading a preset, the playback device settings will feature the default values set for the preset. Get default Pressing the buttons loads the default configuration of the playback devices belonging to the currently active preset.
SURROUND SOUND Lock channel position If this is selected, the position of the loudspeakers cannot be changed using the mouse in the Surround panning module. This function is always initially activated and should only be switched off in special cases (e.g. variable speaker positioning). Up arrow/down arrow buttons If a line has been selected in the configuration table (corresponds to a Surround channel), this line may be moved up or down within the table.
SURROUND SOUND Object-based surround panning is identified in the VIP object display by the "Sur" extension to the object name. Note: Object-orientated Surround panning will not route the audio signal through the channel strip of the corresponding mixer track. All settings made here (AUX send, EQ, etc.) have no effect on this object. For most applications, an object should be mixed to the Surround bus either via trackbased or object-orientated Surround panning.
SURROUND SOUND source that is to be positioned within the Surround panorama. Depending on the "Pan L/R" settings, these may also be displayed as two dots. A two-channel input meter is located on the left of the stereo track area in Samplitude. Both scales display the mono signal of the mono input signals. The level meters of the Surround master's channels are on the right side. Only the levels of the material currently being edited in the Surround panorama module are displayed.
SURROUND SOUND channel dialogs and mix music and sound in the center. A signal placed directly in the center is played back in 5.1 format only in the center if center = 100%; at 0%, this is only a phantom sound source that is output by the channels L and R. This parameter is often referred to as "divergence". Pan L/R: Mono and stereo sources may be positioned via the Surround panorama module. The "Pan L/R" function determines how the mono and stereo signals are be positioned.
SURROUND SOUND A + Mouse movement: The sound source can only be moved with constant angle. A line running from the initial position of the sound source through point 0 of the system of coordinates determines the movements. Result: Diagonal movement with consistent angles. Sound field mode In "Sound field" mode, the input signal is displayed as a concentric sound field. Each red line corresponds with a 3dB drop in the sound field level.
SURROUND SOUND Panning law mode This mode operates with a display of the Surround panorama as known from many digital mixers. The positions of the loudspeakers are displayed at the outer borders of the usable panorama. By clicking the "Sound field" option, you can visually display the graphical levels displayed across the Surround buses.
SURROUND SOUND Angle mode A sound field is displayed which extends from from the center of the circle. The sound source is located on the central axis of this sound field. The loudspeakers are aligned in a circle. The level shares of a sound source that are routed to one channel are determined by the angle ratio between the sound source and the loudspeaker, as well as the aperture angle of the sound field. If the angle of the sound source and the channel correspond with each other (i.e.
SURROUND SOUND Matrix mode The level of the input signal sent to the individual surround buses may be entered directly in "Matrix" mode. Entering the values manually by double clicking the numeric field. Dragging the mouse over the level bars while holding the left mouse button also changes the value. Fine tuning is possible by additionally holding the "Shift" key down.
SURROUND SOUND 2-channel Surround mode Two-channel Surround is a method for adding additional room features to a normal stereo signal. No additional audio channels are required. The result is also a stereo format including additional Surround information ("encoded"). Using a Dolby ProLogic-compatible amplifier system (also referred to as Dolby Surround), additional Surround information may be decoded and played back via 4-5 speakers.
SURROUND SOUND Pan setup The "Pan setup" window allows you to make further changes to the Surround panorama module. Open this window by clicking "Pan setup" in the Surround panorama module or by right clicking the sound source. Sound field offset (dB): The set offset is included for sound sources that are directly positioned and routed to a single Surround channel/speaker.
SURROUND SOUND Surround presets Frequently used settings may also be saved as presets in the Surround panorama module. The pan L/R mode and settings are also saved besides the position of the sound source. Use "Load preset" to load previously saved presets. Stereo and mono signal processing in surround projects Mono (pan L/R settings): The following applies to stereo signals: a mono sum will be created using the left and right signals. This is positioned as a single mono sound source in the panorama.
SURROUND SOUND left channels, and only the right signal for all right channels, and the mono share for the center and LFE channels. The following applies to mono signals: no special function, identical with "Mono" mode. The sum of the levels of both sources is always displayed under each loudspeaker in any mirror mode (if display options are active). Holding the "Shift" key and clicking a source briefly displays the value of the individual sources.
SURROUND SOUND Drawing Surround automation curves To use this automation mode, you must first select the range in the VIP where you would like to add the change. Draw mode is now activated in the Surround panorama module. You may now draw any movement for the sound source in the Surround panorama. This sequence is then applied in the previously selected time span when playing back the VIP the next time. This curve may be edited after in the VIP by using the mouse in "Curve edit" mode.
SURROUND SOUND If presets are loaded into the presets window, the parameters affect all Surround channels of the group activated in the window but not the Surround channels of other groups. For dynamic effects (including the multiband dynamics module), the control signals are generated using all channels of the group (just as they would be generated from the two stereo channels in "Stereo" mode).
SURROUND SOUND The dialog "Trackbouncing (internal mixdown)" opens via "Tools". Surround Bouncing provides selection between creating a wave file or an MP3 files. An interleaved file may also be created: RIFF64 (also known as RF64) is a format for combining individual channels into a Surround sound production (e.g. for 5.1) as an interleaved file. The remaining settings may be selected during regular trackbouncing (view page 456).
MIDI IN SAMPLITUDE MIDI in Samplitude MIDI setup All global MIDI settings are provided in the system dialog (shortcut: "Y") under "System options -> MIDI". Please read "System settings -> MIDI settings" (view page 31) for more. Import, record, edit Recording MIDI tracks For MIDI recording and MIDI recording modes, please read "Samplitude Quickstart -> MIDI recording (view page 88)". Importing MIDI data Existing MIDI files may be imported into a Samplitude VIP project as objects.
MIDI IN SAMPLITUDE The following dialog is displayed automatically: Standard MIDI files often also contain tempo information. Samplitude displays this information in BPM (beats per minute) in a separate section of the dialog. At this stage of importing, select whether to adjust the virtual project tempo to the tempo of the imported MIDI file or not. Place a check next to "Use MIDI-BPM in VIP" to do so.
MIDI IN SAMPLITUDE Editing MIDI objects Editing MIDI objects in Samplitude follows the same principle as editing audio objects: MIDI objects can be copied, split and trimmed, have fade handles for fading in or out, and a volume handle that scales the MIDI velocity. Freeze MIDI object ("Object > Freeze objects (view page 563)") causes each selected object to be rendered as a new wave file. The original MIDI objects are replaced in the arranger by audio objects.
MIDI IN SAMPLITUDE Note: These settings influence the MIDI object in real time and not destructively, making the changes invisible in the MIDI matrix or drum editor. Important functions and settings in the MIDI object editor: Velocity: The velocity fader works comparably to the volume fader in the wave object editor. Normally, every MIDI note contains a velocity value which determines how "hard" the note will be played back.
MIDI IN SAMPLITUDE Using the arrow keys you can "jump" up or down to the object of a neighboring track. Use the double arrow buttons to jump to the previous or next object. If multiple objects are selected, these buttons will not be active. If the "To all" option is active all selected objects are updated when the object editor is opened. All recently applied settings that have been made in a selected object, will be applied to all other selected objects.
MIDI EDITORS MIDI Editors Open MIDI Editor The MIDI Editor is opened by double-clicking on a MIDI object in the project. You can also start the MIDI Editor for all selected MIDI objects by selecting "Object > MIDI Editor ..." in the menu or by clicking on the "MIDI Editor" button. In case you open the MIDI Editor in the Docking bay (view page 50) there is the option use the toolbar by right clicking in a free range.
MIDI EDITORS Now you can draw in events into the MIDI editor (view page 250) or record notes via your MIDI keyboard. Detailed information about MIDI recording is provided in the chapter "Samplitude Quickstart -> MIDI recording (view page 88)". Working with the MIDI Editor MIDI data can be edited in the MIDI Editor in five sub areas: piano roll editor drum editor Controller Editor (for example, velocity, MIDI volume…) Event list Note editor Various tools are available for editing, e. g.
MIDI EDITORS and then change the velocity of these note groups which modifies all selected notes simultaneously in the Controller Editor.
MIDI EDITORS MIDI Editor: Zoom use the scroll wheel Just like in the project window, you can set the vertical and horizontal picture detail as well as the zoom factor in the MIDI editor using the scroll wheel: Scroll wheel: Horizontal scrolling Shift + Scroll wheel: Vertical zoom Shift + Ctrl + Scroll wheel: Vertical scrolling Ctrl + Scroll wheel: Horizontal zoom You can change the scroll wheel settings at any time by going to "File > Program Preferences > "Edit Keyboard Shortcuts and Menu (view page
MIDI EDITORS Draw pattern (Shortcut: 4) Select the MIDI events to use for the pattern first, then save this pattern via the keyboard shortcut "Ctrl + P". Next, draw in a sequence of previously selected patterns with the "Draw pattern" tool. Moving the mouse back (to the left) while holding down the mouse button removes previously drawn notes.
MIDI EDITORS This tool separates a note on the matrix into two notes. The separated note snaps to the next snap point. Mute (Shotcut: M) This mode mutes individual notes or selected groups of notes by clicking/activating them again. This function is also available as a command in the MIDI editor menu, "MIDI functions" (Shortcut: "Ctrl + M"). Tips: "Shift to pencil": The "Shift" key is now the hotkey for "Draw notes" mode.
MIDI EDITORS MIDI editor: Editing fields Editing selected events (editing fields): The properties of every event in the piano roll, drum editor, controller, and listen editor can also be edited with the editing fields under the editing tools. The following buttons are available for each note: Channel Pitch (byte 1) Velocity (byte 2) Starting time in bars:beats:ticks Length in bars:beats:ticks The display of the ticks has a resolution of 384 PPQ. 384 ticks correspond to a quarter note.
MIDI EDITORS Start Q: This command quantizes the start positions of the MIDI notes for all selected MIDI objects according to the MIDI quantize settings. The grid view corresponds to the start quantization value. Start and Length Q: This command applies quantization to the start and length of the MIDI notes of all selected MIDI objects according to the MIDI quantize settings. Soft Q (quantize approximation): This command includes the current Soft Q level value in the quantization options.
MIDI EDITORS double the tempo halve the tempo scale to range length. manual stretch. This allows you to enter individual values in the Stretch Factor field. If, when using this command you don't select any notes it is the same as selecting all notes. Retrograde (Reverse): With this function you can reverse the playback sequence. The events move by a further quantization step each time they are reversed again. This command affects all events inside the specified range i.e. all selected events.
MIDI EDITORS Velocity dynamics The MIDI velocity dynamics can be accessed as an offline effect via "MIDI editor MIDI Functions > Velocity dynamics", or as a real-time track effect in the track editor. "Velocity dynamics" is a MIDI effect that edits the MIDI velocity dynamic of the selected MIDI notes. It can be used in real time as a track effect during playback and for MIDI-Thru (button in the MIDI section of the Track editor), and also offline via the corresponding menus.
MIDI EDITORS Gain (-128 – +128): The gain controller sets the amplification factor for events after they have been processed by other parameters Auto: If this option is activated, the gain parameter will be adjusted automatically to reach a consistently full overdrive (Velocity 127). Limit maximum and Limit minimum are used to limit the top and bottom velocity ranges by entering a minimal or maximum velocity value. Offline mode Offline mode makes the Set value button available.
MIDI EDITORS Quantize Irregularities when recording patterns maybe evened out with quantization. Samplitude features audio quantization as well as MIDI quantization. Details about audio quantization are provided in the menu reference "Object > Quantize > Audio Quantization wizard (view page 550)". Recorded MIDI events may be set to the exact note start and note length values using MIDI quantization.
MIDI EDITORS Quantize Note Ends to Grid This option may be used to extend the ends of the selected notes to the next snap point according to the set values. Reset quantization: This function resets all quantization processes. Quantization - window view In this case, the quantization snap grid (Q snap) is displayed graphically, and the Q range appears gray. Only notes or slices within the Q range will be changed. The beat names in the quantization grid depend on the beat signature that is set.
MIDI EDITORS Settings applied here also affect the behavior of the "Input Q (view page 58)" button in the track editor. In this case, MIDI quantize settings changed in the VIP are applied as a preset for new VIPs. Quantization presets Here you can select from a number of presets: 5-tuplet: Quantization occurs in fifths Magnetic quantize: The "Q window" value is set to "50", i. e. only 50% of quantization will be considered.
MIDI EDITORS You can select the grid from the Groove Template selection box, which puts binary, triplet and dotted note values at your disposal. If a you have selected a groove template, the "Snap/Quantization value" field of the MIDI editor will indicate "Grv". The MIDI editor may be used to create new groove templates yourself by selecting the MIDI events as the template and then accessing "Edit -> Create groove template from selection". This quantizes the Groove Template to entire bar borders.
MIDI EDITORS Q Window "Q window" refers to the interval to the left and right of a grid point; events will be quantized within this range. No quantization will take place beyond this, and for this reason, the events outside of this window will remain at their position. The quantization area is dependent on the values of the parameters "Q snap" and "Q threshold". Example: Grid: 4 max. Window: 4 100: The Q range covers the entire area between the grid points on the quantization grid.
MIDI EDITORS specified therefore determines the possible interval between the quantized notes and the exact quantization value. Soft Q This value sets the strength or "Soft Q" value of the quantization. "100" moves the event precisely to the quantize grid point, "50" shifts the event to the middle between the current position and the quantization grid point, "0" means no movement, i.e.
MIDI EDITORS Undo quantization/reset With the help of the round arrow buttons, you can undo/redo the last quantization made. In this case, the counter-clockwise round arrow provides the "Undo quantization" function, while the clockwise arrow serves as the "Redo quantization" function. Reset quantization: This function resets all quantization processes.
MIDI EDITORS Cell Edit Mode This mode may be opened/closed manually by clicking the "Cell" button beside the horizontal scroll bar. "Cell edit" mode provides an alternative view of the MIDI events: Notes are displayed as cells. In this case, the actual note lengths for the individual events are no longer considered. You may specify a unified display width of all events a lot more by setting the snap quantization and length quantization values in the MIDI editor's toolbar.
MIDI EDITORS Matrix Editor (Piano Roll Editor) For all MIDI objects that show no entry in the "Drum Map" field, you can open the Matrix Editor with a double click. The button is selected in the MIDI editor if the Matrix Editor is active. The Matrix Editor is easy to recognize via the piano icon on the left side of the editor. The MIDI events displayed are arranged according to their respective pitch. Note display Notes which are not selected within the editor are displayed in blue.
MIDI EDITORS You can also determine the colors of tracks or MIDI channels via the "Options" menu in the MIDI editor. If no previous track colors have been set, random colors will be assigned for track color display in the MIDI Editor. Track color display for MIDI events In the MIDI channel color display MIDI events are displayed in different colors, based on the MIDI channel settings.
MIDI EDITORS Matrix Editor: Special selection options In order to directly select all notes of a certain pitch, double-click on a free section with this pitch in the Matrix Editor or in the keyboard. Hold down the "Alt" key to select notes with this pitch from this click position only. Using the "Shift + double click" key combination on a free area, you can create a new event and simultaneously select all notes of this pitch.
MIDI EDITORS Drum Editor After opening the MIDI editor (double click on the MIDI object), switch to the corresponding field in the Drum Editor. Instead of the piano keys, a list of drum instruments is displayed. Note:If a drum map is active in the arranger track (recognizable by the word "map" in the MIDI area of the track editor (view page 58)), the drum editor is loaded automatically when the drum editor is loaded.
MIDI EDITORS Velocity scaling: The velocity value of each note is multiplied by the V value/100 and adjusted to the MIDI velocity between 1 and 127. Scaling is audible, but is not visualized further. When the drum editor opens cell edit mode (view page 264) activates by default. Here, moreover you can turn Velocity Mode (view page 265) on.
MIDI EDITORS Drum Maps A drum map assigns certain qualities to the different drum instruments of a MIDI drum kit. Besides key assignment for pitch, the export note, the MIDI channel, and the quantization are defined. The "General MIDI" map is used by default to distribute drum kits. You can set the drum map in the drum editor by selecting the "map" field in the desired drum map. You can also open the drum map under in the track editor under "MIDI".
MIDI EDITORS Drum Map Editor This editor enables you to route each played note to a different one and give them their own individual names. It's also possible to assign each individual instrument its own quantization and a new (MIDI) output channel. Pitch: This parameter indicates the incoming MIDI note. The value cannot be changed, so the pitch always corresponds to the input note. Instrument: Name each corresponding percussion instrument here.
MIDI EDITORS Controller Editor The controller editor is located below the matrix or the drum editor; this may be hidden or shown via the keyboard shortcut "Alt + V". ein- und ausgeblendet werden. If you position the mouse below the horizontal scroll bars, the mouse cursor will turn into a vertical double arrow. Pull it up to enlarge display of the controller editor. The controller editor is used to display and edit up to 4 different MIDI controller curves simultaneously.
MIDI EDITORS with a continuous controller numbered 0-127 The controller selection features the controller types available to the respective object; a star behind the name of the controller type indicates that a controller curve already exists for this controller type. The velocity values are displayed directly in the controller editor as vertical bars under the corresponding notes. The height of each bar represents the corresponding note velocity strength.
MIDI EDITORS Selecting and drawing events Combi tool: Keyboard shortcut: Ctrl + 1 The mouse cursor button provides you with a combi tool. Use it to select, change values, and draw freehand and uniform lines. Click a position on the controller editor and start drawing horizontally, and two red vertical lines will appear. The first indicates the starting point of the selection and the second displays the end point. All events located within the limits are now selected and displayed in red.
MIDI EDITORS Shift + click & dragging with the cross hairs to draw a line. Hint: When editing the velocity, no new notes are generated; existing velocity values are only modified by dragging and clicking the events. Drawing lines: Shortcut key: Ctrl + 3 This activates line drawing; the mouse pointer becomes a cross hairs. Create envelopes, ramps, and grades by dragging horizontally. Single clicking creates a new ramp which reaches up to the next controller event.
MIDI EDITORS Tips Copying controller events: You may copy selected events using "Ctrl + C" and then paste them at any play cursor position in the corresponding controller editor using "Ctrl + V". Timeshifting several selected controller events: First, select all events you would like to move. To select different controller types together, hold down "Ctrl" at the same time. Now you can move the selection in the time field by entering a value or by vertically dragging the double arrow.
MIDI EDITORS Event list Open event list: The MIDI editor has an integrated display of all events in list format. This List Editor can be opened with the button above the keyboard or by using the “Alt + L” keyboard shortcut. When the event list is opened and activated for editing, it has a narrow red border. This is to make clear that certain functions, e.g. select next/previous event (arrow keys) or the “Select all” (Ctrl + A) command, refer only to the List.
MIDI EDITORS The display filter provides information for the editing fields MIDI event, MIDI channel, pitch and velocity. Example: Select a note and click a display filter of the pitch column to only display events of this pitch. All other events will be faded out: Display filters can be combined with one another. For example, all control change events of type 10 (pan) to MIDI channel 1 may be filtered for display.
MIDI EDITORS Multi object editing (MO-Editing) You can also load several MIDI objects simultaneously in the MIDI editor. All MIDI objects selected in the arranger are added to the MIDI editor by clicking the "MIDI editor" button in the Docker (view page 50). In an already-opened MIDI Editor you can include additional MIDI objects for Multi Object editing by clicking in the Arranger while holding down the Shift key.
MIDI EDITORS A display filter for the current track may be activated while in MO editing mode. Data from other tracks are then grayed out. If the option "Hide filtered MIDI data" in the "Options" menu is activated, then MIDI events that are not current will be made invisible. Note: If the note editor is activated at the same time, only the velocity values of the current staff will be displayed in the controller editor.
MIDI EDITORS Score Editor The score editor displays the MIDI data of a MIDI object as notes in real time and also offers all MIDI editing options in the note display. If you move or extend MIDI data, these changes are immediately reflected in the score. If you insert a new note in the score editor, a corresponding "MIDI note on" event is created immediately. Each track may contain a maximum of 48 staves.
MIDI EDITORS Please note: Only the notes of the currently active system are displayed in the velocity editor if notes and velocity are parallel. The red bar mark indicates the currently active system. The linear height of the range of the note view may also be modified. To do so move the line between Score and Matrix editor with the mouse. The horizontal section can be set above the scroll bar, parallel to the matrix view of the MIDI notes.
MIDI EDITORS Page mode as print preview: You should first change the page format (in the Score Properties dialog) to the paper format of your printer before setting up the page for printing as the display depends on the page format. You will then see your score exactly as it will be printed. Score sheet The automatic conversion of MIDI data into score material is usually sufficient for editing MIDI data; in this case, efficiency is required instead of a perfect, ready-to-print display.
MIDI EDITORS Editing MIDI data in the score sheet Select notes As usual, you can select notes by clicking them. A group of notes (a chord) may be selected by dragging a frame over the notes with the mouse button. Select multiple single notes by pressing the "Ctrl" key. Note parameters Parameter pitch, velocity, and length can be changed for one or several selected notes. If one or several notes are selected, the data for the current note will appear in the info bar above the score view.
MIDI EDITORS The menu command "Score -> Selected notes: hide/show in score" enables the selected notes to be removed from the score, without influencing MIDI playback. Notes hidden in the scale are indicated in the matrix by a diagonal line. This function is practical for making trills easier to manipulated, or in order to to remove "control notes" from the score when switching between playing styles.
MIDI EDITORS This is why automatic processing of notation always differs from what would be ideal. Samplitude includes a number of automatically and manually controllable functions for making it easier to read the notation.The reworked version of the above score excerpt illustration shows how big the difference can be: …and editing is finished. Note allocation in multiple systems The term "System" refers to an individual line in a staff as well as all staves of a score.
MIDI EDITORS When transcribing a MIDI piano recording, splitting the notes into a two-line piano system using the split point is recommended. This indicates that notes above the split point pitch belong in the upper system and that the other notes belong below it. The positions where individual notes are placed incorrectly can be easily corrected by assigning the notes manually by clicking the desired system. Automatic assignment of notes to a specific staff is flexible.
MIDI EDITORS Multi-voice notation Up to two independent voices may be annotated for each staff. The voices differ in the direction of the note stems: the first voice is always with the stem pointing upwards, the second with the stem pointing downwards. Pauses are displayed individually for each voice. Multi-voice notation can simplify the score considerably and enable multiple instruments or parts to be displayed in one staff together.
MIDI EDITORS For automatic voice allocation, the note's MIDI channel has to be analyzed. To do this, set up a MIDI channel for the second voice in the "Note system properties" dialog. This can be set individually for each staff. All notes of a system featuring a MIDI channel that has not been assigned to a second voice are added to the first voice. Voice allocation via the MIDI channel can be practical for displaying standard MIDI files with multi-voice piano pieces, e.g.
MIDI EDITORS MIDI score settings The score settings dialog opens the notation system and page format properties. Apply the note system and page format settings here. None of the settings have any influence on the MIDI data itself, but rather only on the display of the score. Note: The affected note system settings are always applied to all MIDI objects situated on the current track. The page format settings apply to the entire VIP project.
MIDI EDITORS Optionally, all changes to settings, display options, key, and display quantization are always transferred equally to all staves. During multi-object editing across multiple tracks, the scores from the systems of each individual track are compiled together. A partial system of a track can be composed of multiple staves (e.g. 2 lines for a "grand staff" in piano notation). The system lines within a track will be grouped with struck-through beat lines.
MIDI EDITORS Interpretation options None of the options have any influence on the MIDI files or playback. An adjustment only occurs with regard to the note display. simplify note lengths (interpretation) Displays pauses and slurred notes in such a way that the score is as legible as possible without influencing playback. Display without active interpretation options. Display quantization is set to one sixteenth. Display with option "simplify note lengths (interpretation)".
MIDI EDITORS Original Display with "hide note overlaps" option automatic staccato articulations A staccato symbol is added to a note whose value is considerably longer than the displayed MIDI note. Display with additional option "automatic staccato articulations" recognize triplets Activate this option if triplets are present in the MIDI object. Note: The display quantization value always has to be one step finer than the smallest discernible triplet value.
MIDI EDITORS Original Display with "Automatically recognize grace notes" option force polyphonic notation The display of the notation always appears multi-voiced. Notation symbol Clef There are four clefs available in Samplitude: violin, bass, tenor, and alto clef. Samplitude differentiates between base clef and clef change. The base clef may be set up for every system in "Score settings" (and applies to all MIDI objects on the current track).
MIDI EDITORS Prefix Enharmonic change Samplitude sets the sharps and flats according to the clef selected. It is often the case, however, that enharmonic changes can considerably optimize the legibility of certain passages. In this case, you can work manually. To change one or more selected notes enharmonically, click the corresponding button. The function transforms flats into sharps and vice versa.
MIDI EDITORS You can also make entries for tempo notation, composer, and an extra text field. Similarly, you can choose which layout elements should appear on the page (check boxes for beat numbers, page numbers, and texts). Print notes Activate the print process in the "Score -> Print score" menu or via the "Print" button. The print dialog window will appear which has been adjusted to your printer or printer drivers.
MIDI EDITORS During the MusicXML export, all properties of the score (except for the page layout), like staves, notes and pauses, bar groups, keys, polyphonic voices, lead signs, enharmonic change, etc. are transferred. However, page layout, line breaks, and the distance between systems are not transferred. These may also be a component of MusicXML, but since these parameters in Samplitude may only be partially edited, they will be removed from MusicXML export.
MIDI EDITORS Play/stop Close MIDI editor (discard changes) Spacebar Esc File Import MIDI Export MIDI Ctrl + I Ctrl + E Edit Undo Redo Cut Copy Insert Duplicate Select all Create pattern from selection Delete selected MIDI data Delete all MIDI data Select next event Select previous event Ctrl + Z Ctrl + Y Ctrl + X Ctrl + C Ctrl + V Ctrl + D Ctrl + A Ctrl + P Back, delete Ctrl + Back, Ctrl + Del Right arrow Left arrow MIDI functions Legato Quantize notes Ctrl + L Ctrl + Q Options Scroll mode Show eve
MIDI EDITORS Delete mode Magnifying glass Combine notes mode Split notes mode Mute notes mode Select next event Select previous event Event pitch up Event pitch down Select next grid quantization value Select previous grid quantization value Select next length quantization value Select previous length quantization value Move play cursor forward Move play cursor forward (fast) Move play cursor back Move play cursor back (fast) Velocity controller combi-tool Draw velocity/controller freehand Draw veloci
TE MPO EDITING Tempo Editing Tempo and Time signature changes in the tempo map... Tempo and Time signature changes are an important means of expression of your music. You can make these changes in Samplitude by using extensive options. A precise beat grid is essential for precise editing. Samplitude offers you a convenient option for adjusting the beat grid to existing material (audio/video/MIDI). Changes in tempo can be made using the marker or graphically using aTempo track.
TE MPO EDITING BPM marker, Tempo curve (>) and beat change (3/8) - under the tempo track. Tempo markers Tempo markers appear either as BPM markers or as Grid position markers according to the Tempo-map mode. Time signature marker (e. g. 3/4) are by contrast, independent from the Tempo Map mode. In total there are three types of tempo marker: Time signature marker (blue) BPM marker (red) Grid marker positions (green) A time signature marker represent a time signature changes (e. g.
TE MPO EDITING Tempo Map Modes: BPM Mode / Grid Fit Mode In the Tempo Map dialog (view page 308) you can choose between two modes:BPM mode and Snap adjustment mode. The selection can be accessed from the menu: Play/Rec > Marker > Insert Tempo change Play/Rec > Marker > Insert grid marker change In Snap mode you work exclusively with grid position markers and Time signature changes. In BPM mode you work exclusively with BPM markers and Time signature changes. Modes can be changed at any point.
TE MPO EDITING Tempo Change: BPM Marker A new project first has a single "Master" tempo which can be defined in the transport console or in the project settings (shortcut: "I"). This Master tempo affects either the entire project or the start of the project up to the first BPM marker. Exception: If the tempo should be interpolated to the first tempo marker, the master tempo is only effective directly at the project start, to then go linearly to the tempo of the next BPM marker.
TE MPO EDITING Time Signature Marker Beat counter markers change the time signature from the marker position onwards, e. g. 4/4 beat to 3/4. Therefore you can only insert time signature marker at bar borders and only position them at full beat borders. Grid Position Marker Grid position markers assign a specific musical position to a specific time position. If you move a grid position marker, you'll see how the beat grid is immediately adjusted.
TE MPO EDITING Tempo Track The Tempo map is also available as an Automation curve "tempo" and can be graphically edited. Note: Only one track can be used as a tempo track. The track that serves as a tempo track is freely selectable. Changes to tempo markers or in the tempo track are automatically transferred. The Tempo automation behaves differently to typical automation curves.
TE MPO EDITING Edit in the Tempo Track (only BPM Mode) Insert tempo changes Double click on the tempo curve in Universal mouse mode: In the Curve edit mode: click (and drag) on tempo curve. Click in the Automation draw mode:. Ctrl key: creates a Ritardando or Accelerando. A special BPM marker with tempo curves will be created before the tempo marker position ("Pre-BPM"), and, after the tempo marker a previous/new tempo will be used. The pre BPM value can be set with Ctrl + dragging.
TE MPO EDITING Tempo Map Dialog Set the playback cursor to the position at which the tempo or Time signature changes should occur. Now open the Tempo window from the Marker Menu (right-click on time bar) or from the edit tempo menu. Click on the "New marker" button in the dialog. A marker is inserted at the current position. You can now use the marker option to set the properties of this marker. For a new tempo marker, enter the required tempo in BPM or the new beat for the time signature marker.
TE MPO EDITING Maintaining the musical grid position means that objects or markers are adapted to the newly created grid, its absolute time position in the project therefore changes. If the time position is retained the musical position changes accordingly. When manipulating the tempo markers, the behavior of markers, audio, and MIDI objects is controlled separately.
TE MPO EDITING Tempo and Time Signature Dialog This dialog appears when you double click on a previously available tempo marker/curve point or if a new tempo marker should be set using a menu command. You can enter the desired tempo in BPM here (not for grid position markers) and, if needed insert a time signature change. Also you can choose here whether the tempo should be interpolated to the previous tempo marker (Ritardando or Accelerando).
TE MPO EDITING Tempo markers can be placed when composing in the MIDI Editor. Subsequent MIDI Objects and tempo markers retain their musical position (advanced setting). The grid can be adjusted to available audio events, e.g. assigning beat numbers to certain time positions.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Software-Instrumente/VST-Plug-Ins/ReWire Samplitude provides the option to integrate software instruments according to VSTi standards or via ReWire into a VIP, and these may be controlled via the internal MIDI functions and editors. Software instruments may be accessed as audio track inputs and as mixer channels. In this way, the audio signals of a VST instrument may be edited further with all options featured by the mixer, including EQ, effects, and routing.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Load software instruments You can also assign a software instrument to each track; the instrument is selected as a MIDI playback device. Selected instruments or their individual outputs are shown directly in the first VSTi plug-in/insert slot of the track header and track editor and can also be muted (left click) and opened (right click) from there. Load an instrument by selecting a "New instrument" in the project window as a track output.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Apply plug-ins at wave level The menu item "Effects -> Plug-ins" lets you calculate the plug-in effects directly into the audio material. During virtual wave editing, the plug-ins will be loaded into the mixer's master area. Detailed information about destructive editing is available in the chapter "Working in the project window -> Samplitude as a wave editor (view page 108)".
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Audio output channels may also be routed from software instruments to any VIP track. MIDI (send) and audio (return) signals from a software instrument may be present together on one track (but this is not absolutely necessary). Samplitude is fully flexible in terms of individual routing configurations. When installing a software instrument, the "Routing for multi-channel instruments" dialog opens. This is also available via the VSTi manager under "Routing settings".
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Choose this option to automatically create new tracks for all VSTi audio outputs. The newly created tracks are named accordingly. The mono/stereo configuration is assumed from Samplitude (default). Note: Individual outputs may also be routed to separate tracks. To display hidden tracks in the arranger window again, use the track manager. Advanced options: Stereo/mono (standard): Information delivered from the plug-in is used for routing.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE VST MIDI out + Audio out recording (for "Mixer FX monitoring/Hybrid Engine" only) You may record VSTi audio outputs for VSTi return tracks by activating recording in these tracks. "MIDI out" may be activated for every track VST plug-in or VSTi in the plug-in panel menu. This sends and records MIDI data from the VSTi in another track.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Routing VST instruments using the VSTi manager There are many flexible methods for signal routing of instruments. As described in the previous paragraph, an instrument may be fed from several MIDI tracks, and the outputs of an instrument may also be sent to several tracks. Routing instrument outputs Instrument outputs may be easily routed by using the VSTi manager.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Solo playback of VSTi instrument outputs To preview solo instrument outputs, switch the track that is receiving the signal from the instrument to solo. Even if the MIDI objects, which in effect are responsible for the sound, are not present in the track, you will still hear the selected track solo.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE The graphical interface opens by default. The ReWire client application will open when ReWire instruments are selected. "Programs" features the presets for the corresponding plug-in. Besides "Programs", you will also find "Sidechain input (view page 324)" for those plug-ins that feature the "Sidechain" function. Plug-in parameter dialog If the selected plug-in does not have its own interface, the parameter dialog will open.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Plug-in menu functions Bypass: Deactivates the instrument and mutes it. Note that some instruments use up processing power if "Bypass" is switched on. Remove the instrument if you no longer need it. Monitoring: This option must be switched on to be able to hear the instrument when it is being played (live or recorded).
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE No automatic copying: This option prevents automatic copying of plug-ins when you split or copy objects. Load/Save patches/banks: Save an instrument's settings and sounds. The standard formats for this are: *.fxp for patches or *.fxb for whole banks. Several instruments possess their own patch/bank format. Settings are then loaded and saved directly via the instrument's interface.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Play and monitor instruments live Monitoring Use the following settings for live monitoring: ASIO driver ("File > Program Preferences > System/Audio > Audio system > Driver system") Activate global record monitoring in the transport control ("Moni" button) Activate the track monitoring button (loudspeaker symbol) Software monitoring or Mixer monitoring ("Menu, File > Program preferences > System/Audio > System options > Audio system > Monitoring Setup") Tip:
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE click on "REC" in the track editor and set a check next to the corresponding context menu item. You may record VSTi audio output for VSTi return tracks by activating recording in these tracks. If "MIDI thru" is activated, this signal can also be routed to another VSTi/VST-FX or external MIDI device.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE Freezing VST instruments To freeze an instrument, mark the instrument in the VSTi manager, and select the "Freeze" option under "Functions". After a short processing time, all MIDI and audio objects from the audio return track are replaced by a single 32-bit stereo audio object. A frozen instrument will no longer be controlled by the track's MIDI files and can even be deactivated, provided that it is not used by other MIDI tracks.
SOFTWARE-INSTRUMENTE/VST-PLUG-INS/REWIRE ReWire Client Application ReWire-compatible client applications (e.g. Propellerheads Reason) can be integrated into Samplitude as synthesizers. Activate ReWire functionality in the system options settings ("Y") under "Effects -> VST/DirectX/ReWire". Afterwards, installed ReWire applications may be loaded as instruments into a MIDI out slot in Samplitude.
AUTOMATION Automation Samplitude provides lots of comprehensive automation possibilities at master, track and object level. You can enter automation movements on track and master level in realtime or draw them manually in the automation track. The created automation data are visible as controller movements in the channel or as a curve in the automation track. An unlimited number of automation curves are available on each track. The volume automation curve is set to +0 dB in the middle of the track.
AUTOMATION Track automation - Basic procedures Step 1: Select the track recording mode for creating automation curves for the individual tracks/channels. You can select either "Touch", "Latch", "Overwrite", and "Trim" mode for recording. "Overwrite" mode only applies to the last-activated automation curve, and "Trim" mode is intended for volume automation. 2.
AUTOMATION 3. To start recording automation, press "Play". Whatever changes you made to the selected control element, will be recorded in real time during playback. You can overwrite, edit and copy the automation data at any time. You can draw fine steps in the curve if you hold down "Shift". Note: If you want to move curve points which were already created and selected vertically only, create a lock against horizontal movement by holding down "Shift". You can now move the curve points vertically in 0.
AUTOMATION Automation modes The automation modes define how automation data should be saved or displayed. Set the automation mode for each channel/track. By right clicking the automation button in the mixer channel, different automation modes may be selected. Clicking this button toggles between the last activated mode and "Read" mode. Off mode All automation functions are deactivated in "Off" mode, all previously written automation sequences are ignored.
AUTOMATION Latch mode In "Latch" mode, automation files are written starting only from the first touch of the control element or the external controller. As soon as the corresponding button is released, the automation is written to the last value until playback ends or another mode is switched on. Overwrite mode In "Overwrite" mode, automation data is recorded right away, as soon as playback begins, independent of whether the fader is moved or not.
AUTOMATION When trimming a range, new automation points will be set at the range's edges. If you move the fader for a relative volume adjustment during playback, the relative adjustments will be displayed. You can see the current difference to the previously recorded value in the fader value box as well as in the tool tip which appears.
AUTOMATION Trim mode with stopped playback You can also make relative changes to all volume automation points within a certain area when playback has been stopped. Select a range for the respective volume events in the track and drag the channel fader in "Trim" mode up or down. You can see the level adjustment difference value in the Tooltip or Fader box. Note: You can of course activate any number of automation points for all other Automation curves (e. g.
AUTOMATION Object automation At object level, you can automate the volume, AUX sends, and VST plug-in parameters. To conduct the object-based automation, first select an object. Next, select "Show object automation" from the automation context menu and select an automation parameter in the lower section of the context menu. You can select object volume, object AUX sends, or any VST plug-ins embedded in the object for automation.
AUTOMATION Master automation Volume, EQs, VST plug-ins, and MIDI controllers may be automated on the master level. The master section of the mixer also provides automation buttons for volume automation of the stereo sum. To make the master track visible in the arranger as well, right click the automation button in the master channel. Select the option "Display master track in arranger". The arranger will now feature a track outlined in blue and the name "Master".
AUTOMATION Curve generator The curve generator will create a volume curve for you that is beat based and pulses according to eighth, quarter, half or full notes. You can enter a minimum and maximum value or define delay values as an option for the beat-based envelope curve calculation. The option "Create..." in the automation context menu opens a selection dialog to define the shape of the automation curve more accurately.
AUTOMATION Create curve points in range only: If this option is selected, curve points will be generated only in the area previously defined in the arranger. Curve generator - options for envelope calculation (beat-based) Limitation: Determine the minimum and maximum value of the envelope. Via Delay Minimum/Maximum the basic forms can be altered further. Shift moves the entire curve. This lets you create interesting off-beat effects.
AUTOMATION Delete all curves This command erases all automation curves on each track automation or each object automation. Track automation mode Specify the track automation mode here. Detailed information about the automation modes is available in the chapter "Automation -> Automation modes (view page 329)". MIDI controllers This launches the MIDI controller automation (view page 338) dialog.
AUTOMATION MIDI controller automation Automation/controller For each track, you may also draw MIDI controller curves automatically and send them to a VST plug-in or MIDI synthesizer over the track's MIDI output device. You can assign a MIDI channel to each MIDI controller curve. Open the MIDI controller dialog for the corresponding track by opening the context menu (right click on the automation display in track editor), and then selecting the "MIDI controller automation".
AUTOMATION Active: Switches the controller curve on/off Controller no.: MIDI controller selection Channel: MIDI channel to which the MIDI controller sends values Color: Color selection for each automation curve By selecting the option "Record/update MIDI controller curves to this track during playback", an automatic recording of selected MIDI controllers curves for this track takes place.
AUTOMATION VST plug-in/VST parameters dialog All of the parameters that may be automated may also be selected and activated in the VST plug-in's parameters dialog. This allows automation to be recorded directly via the selected parameter controllers during playback. You can open the parameter dialog in the plug-in's menu via "Plug-in -> Parameter". Detailed information about the VSTi parameter dialog is provided in the chapter "Software/VST instruments -> Plug-in parameter dialog (view page 320)".
AUTOMATION Drawing object automation Switch to "Object automation" mode in the track editor Right clicking the automation area in the track editor opens a context menu; the lower section displays all available object automations. Select the desired automation parameter (e.g. AUX Send 3). A dotted, inactive automation curve appears in the object (hint: newly created, inactive "AUX send" curves are located on the lower edge of the object).
AUTOMATION Move automation curve with audio/MIDI data To move the audio material to a new position on the timeline along with the automation curve, the automation curve will have to be connected to the object. This is possible via "Link curves to objects" mouse mode. Click this button in the mouse mode toolbar to get started. Objects may now be moved or copied together with your curve points.
AUTOMATION VST automation resolution (samples): Time constant (in milliseconds) for sending current controller values: when starting playback, the controller data is transferred after this time has lapsed if its value changes (within the frame of 7 bit MIDI resolution). During playback, the VST controller values are exported at this rate and sent to the corresponding VST plugin. During playback, the VST controller values are retrieved within this time gap and are sent to the respective VST plug-in.
SYNCHRONIZATION Synchronization Synchronization is very important to an audio system, since it is necessary to align playback and recording speeds of different system components. Synchronization enables studio equipment such as tape machines, drum computers, video recorders, or sequencers to be linked with different formats like MIDI clock, MIDI timecode, or SMPTE timecode so that all of the devices run at precisely the same time.
SYNCHRONIZATION MIDI Clock The MIDI clock acts as a MIDI transmission clock consisting of system messages (F8H), and its time reference is not based on hours, minutes, and seconds, but rather on "ticks". One "tick" is the 24th part of a quarter note (24 ppqn [pulses per quarter note]) – MIDI clock signals are therefore transmitted 24 times per quarter note. Since the MIDI clock is based on the tempo as a reference, the number of ticks output depends on the tempo of the generating device.
SYNCHRONIZATION Note: To synchronize devices that output SMPTE Timecode with MTC, the SMPTE Code is converted into MIDI Time Code first via an SMPTE to MTC Converter. MIDI Machine Control (MMC) This is a signal for controlling external controllers that support the MMC format. Samplitude may also be remotely controlled via MMC commands from an external controller or mixer. You can find out more about this is available under MIDI Machine Control (MMC) (view page 351).
SYNCHRONIZATION Synchronization setup dialog The settings options for synchronization are available via the synchronization setup dialog. Menu: File > Program preferences > Synchronization setup Shortcut: Shift + G This window is for customizing the synchronization according to your requirements. The available formats are MIDI clock, MTC, APP, and SMPTE. MIDI Clock MIDI Clock Input MC input active: Activate the input for the incoming MIDI clock signal by clicking this check box.
SYNCHRONIZATION MTC (MIDI Timecode) MTC Input MTC input active: This check box activates the input for the incoming MIDI Timecode signal. Device: Select the device that should create the MIDI timecode signal for synchronization. MTC output MTC output active: This check box activates the output for the MIDI timecode signal generated by Samplitude. Device: Select the device that the MIDI timecode signal should be sent to for synchronization.
SYNCHRONIZATION Chase lock sync - adapt speed by resampling Samplitude supports real chase lock synchronization, i. e. audio playback can be controlled by an incoming timecode signal. In this case not only the starting point of audio playback is controlled externally, but sync also controls playback speed if "Chase Lock" is activated. Samplitude is therefore capable of following analog tape devices or VCRs that always feature some slip over longer periods.
SYNCHRONIZATION SMPTE settings SMPTE-Offset: Specify an offset to be deducted from the incoming SMPTE time before the time is used for synchronization. An offset of 01:00:00:00 (1 hour) therefore allows you to synchronize a tape with an SMPTE code that starts at 1 hour. The SMPTE offset behaves relative to the project start time (view page 33). FX: This factor allows you to equalize possible irregularities with regard to positioning in long samples.
SYNCHRONIZATION MIDI Machine Control (MMC) MMC modes In the project options, you will find a dialog for remote control via MIDI machine control. Samplitude supports synchronization of external devices via MMC. The following modes are available: Receive MMC: If you have set up Samplitude to work as a slave, activate this option.
SYNCHRONIZATION MMC input ID: Enter the Samplitude MMC input ID here. MMC output ID: Enter the input ID of the MMC device to control remotely.
SYNCHRONIZATION MAGIX MMC extension F0 7F 06 6F <…> F7 Set marker Navigate play cursor to marker left/right Set all tracks RecRdy on/off 6F 01 6F 02 n 6F 03 n Set monitoring mode 6F 04 n Set input monitoring on/off 6F 05 n Set sync mode on/off 6F 06 n Set loop mode on/off 6F 07 n Set punch mode on/off 6F 08 n New auto numbered marker n = 00 to left marker n = 01 to right marker n = 00 off n = 01 on n = 00 manual monitoring n = 01 tape monitoring n = 00 off n = 01 on n = 00 off
SYNCHRONIZATION Important: The value of the MIDI song position pointer is limited to 1024 bars (4/4 beat). After this, no further synchronization via MIDI clock is possible; connected slave devices simply stop. In this case, connected slave devices remain still. 1. Make sure that your external hardware sequencer supports synchronization via MIDI clock as slave. 2.
SYNCHRONIZATION Note: This function should only be used if a common word clock is not available If a common word clock is available, synchronization variations will be created. 1. To synchronize via MIDI clock as slave, connect the MIDI OUT of the external device to the MIDI IN of the MIDI port selected in the synchronization setup. 2. Now select "MC Input active" in "Synchronization/MIDI clock input" and enter the tempo of the external sequencer. Samplitude is now operating as a slave.
SYNCHRONIZATION the audio drivers being used permit simultaneous use of multiple sound card outputs. Alternatively, you can also use two different audio interfaces. During synchronization via the MIDI interface, note that a MIDI port that is opened by the software cannot be used by other applications. To overcome this limitation, two MIDI interfaces that have been connected may be used. It's more elegant to use a freeware help program like "Hubis Loopback", "Marblesound Maple", or "MIDI Yoke".
SYNCHRONIZATION Media link/video setup The integrated video engine allows video objects to be added to the first track. Various video files like AVI, DV, MOV, MPEG, MXV may also be loaded. WMV or image files such as BMP or JPEG may be loaded into the arranger window via drag & drop or via "File -> Load/import -> Load video file". Please ensure that the video files included in a project are identical in terms of dimension, aspect ratio, and frame rate.
SYNCHRONIZATION video monitor. VIP draw mode 2 ("Tab" key) may be used to display only the object start and end frames. Extract audio from video: This button extracts and converts audio files from an AVI file into a wave file for insertion into the current project. Replace audio in video: This option can be opened using the "Export video sound" function to replace the existing audio track in an AVI video. Playback offset: Set a positive or negative playback offset in this field.
H ARDWARE CONTROLLER Hardware Controller Hardware controller - Introduction Samplitude lets you easily control the software using external hardware controllers. Templates (.cps files) for advanced controllers come supplied. The number of supported devices is increased continually and they are adapted to the new devices that appear on the market. A MIDI interface is required to use a hardware controller.
H ARDWARE CONTROLLER Using multiple controllers, extenders, and multi-bank controllers A maximum of four controllers may be positioned in the controller selection list. For example, if you select a Mackie Control and want to add an extension to it, then just add a Mackie control again. This will be added automatically directly below the first one. In this case, the second controller is treated as the extension. Specify the correct MIDI ports for this controller, too.
H ARDWARE CONTROLLER Hardware controller – "Internal" mode The internal modes are used to adapt to different hardware controllers which operate using different concepts. Depending on the mode, the controller display is controlled differently and Samplitude interprets the controller information differently. The effect is that a particular physical control element controls different parameters in Samplitude, depending on the internal operating mode.
H ARDWARE CONTROLLER Gain, frequency, and quality accessible via the knobs (differently grouped than in Bandwise mode) Using the bank switch keys, each of the other EQ functions can be accessed AUX Press first time: AUX track mode AUX 1 to 6 of the active track using the knobs Press second time: AUX slot mode Set AUX for each track Select number of AUX tracks to be controlled using the Bank Switch keys Plug-in The VST plug-in slots are listed for the active track (flip through via bank
H ARDWARE CONTROLLER Select track Select plug-in slot in the track with "Mixer track up/down" key Now you can control 3 parameters of the corresponding plug-ins with the vpots. The display page is toggled with the keys "Mixer track up/down".
H ARDWARE CONTROLLER Controls all AUX sends in the selected channel. AUX [slots] (1 - 8) (Track AUX mode) Controls AUX sends for the different tracks in the selected slot. Customizing controllers Most devices available on the market understand protocols such as Mackie Control or HUI. If your device is not included in the list (view page 373), simply select the nearest compatible device. Note: Before adapting an existing template to your controller, save it under a new name via "Save as...
H ARDWARE CONTROLLER Here are a few special learnable program functions: Mixer: Global track arming/mute/solo Mixer: Global FX mute button Mixer: Monitoring volume Mixer: Monitoring AFL/PFL button Mixer: Flip mode (exchange faders and vpots) Mixer -> Navigation: Learn AUX modes button for AUX1... AUXx Modifier: SHIFT lock (e. g. for JL-Cooper MCS-3800) 1. Select a program function via the context menu or by moving a mixer element. 2.
H ARDWARE CONTROLLER If a controller moves in the wrong direction after programming it, repeat the programming sequence and activate the "Invert vpots direction" option. Alternative controller dynamic: If a dial makes overly large 'jumps' when moved quickly you can edit that here. Don't send feedback: Regardless of the output mode, you can specify the controller settings for each controller, e.g. if feedback should be prevented from returning to the controller.
H ARDWARE CONTROLLER desired combination of modifiers in the modifier field. Of course, not all functions may be used with modifiers. Other learned functions: Learned functions are displayed clearly in a list. Click on an entry in the display window and the setting will be transferred to the dialog element. Individual changes may now be written over older entries by pressing "Learn".
H ARDWARE CONTROLLER Hardware controller options Depending on the controller in question, received MIDI messages will be interpreted differently. In the "Options" tab, adjust and individualize settings for different controllers and operating methods. Protocol: The protocol specifies a series of internal interpreting parameters. You may select Mackie Control, HUI, JLCooper, and Tascam.
H ARDWARE CONTROLLER Display interval (ms): Display control occurs in certain time intervals and not continuously. This limits the amount of display information. A small interval accelerates the display on the controller, but enlarges the amount of MIDI data that needs to be transferred. Locator interval (ms): Locator display control also takes place in intervals. If the time position within an interval changes, only the current value is sent to the controller after it expires.
H ARDWARE CONTROLLER Mixer range follows controller range: If this option is active, changes to the controller range at the start of the mixer will be adjusted to the start of the controller range. Mixer range follows controller range when active track is changed: This option is only sensible when "Controller range follows active track" is active. If a track outside of the controller range is active, then the controller range will be adjusted to it.
H ARDWARE CONTROLLER 1. Delete all previous entries. Click on the entry in the list and then press "Delete scale entry". 2. Enter the value "6" into the "Scale entries on controller" and move the fader all the way up (to the scale value +6 dB). Next, click "Set scale entry" to set the new entry. 3. Move the fader all the way down and enter the value "-100" into the "Scale entries on controller". Click "Set scale entry" again. 4. Insert additional scale positions (e.g. -10,-20, -40, etc.
H ARDWARE CONTROLLER The plug-ins menus also include the entry "Learn hardware controller". The plug-in parameters may also be learned for a controller in the same way. The changes made remain available until either "Restore modes" is clicked in the hardware controller dialog or until a change is made in the hardware controller dialog settings. Here are the instructions for learning a controller: 1. 2.
H ARDWARE CONTROLLER Hardware controller presets The following list features the most important presets for hardware controllers and integrating/configuring devices. Artist Mix 1. Close your controller (according to manufacturer's instructions) and install the required driver software. 2. Go to system options/Hardware controller and select "activate EUCON". 3. Close the dialog. Your controller is now ready to use.
H ARDWARE CONTROLLER Controller configuration Track area: Control element SEL 1 ~ 8 Function Shift function ON 1 ~ 8 DIAL 1~8 SOLO 1 ~ 8 ON 1 ~ 8 RTZ Panorama Track solo Track is on (inverted mute) Cursor at project start PREV Previous marker NEXT Next marker REW Fast rewind FF Fast forward Stop Stop PLAY Playback REC Recording FADER 1 ~ 8 AUTO REC N ASSIGN SEL Y Track volume Track record Track selection Track automation Track arrange using EuControl 375
H ARDWARE CONTROLLER Navigation: Control element TOP BACK < PAGE PAGE > FLIP CHAN INPUT INSERTS DYN EQ GROUP AUX MIX PAN SHIFT MIXER < NUDGE CLOSE NUDGE > HOME < BANK END BANK > WORKSTATION APPLICATION Function Return from a subpage Shift function Return to upper most page Parameter page to the left e.g. in channel editing mode, AUX or Inserts Parameter page to the right e.g.
H ARDWARE CONTROLLER Artist Control 1. Close your controller (according to manufacturer's instructions) and install the required driver software. 2. In case the files Sam.xml or Sequoia.xml don't exist in the driver software programs\Euphonics\EuCon\SQRL copy and paste it here from the folder program directory/Customize. 3. Go to system options/Hardware controller and select "activate EUCON". 4. Close the dialog. Your controller is now ready to use.
H ARDWARE CONTROLLER Display range: Control element DIAL 1~8 SOFT KEYS 1 ~ 12 Function Function independent of view Function independent of view Shift function Navigation: Control element MONITOR CONTROL ROOM TOP BACK WORKSTATION APPLICATION < PAGE PAGE > MIXER < NUDGE CLOSE NUDGE > HOME < BANK END BANK > REC PLAY Stop FF REW SHUTTLE JOG VERTICAL ZOOM HORIZONTAL ZOOM SHIFT Function Monitor volume Shift function Solo-Bus volume Return from a subpage Return to upper most page Switch the curren
H ARDWARE CONTROLLER Artist Transport 1. Close your controller (according to manufacturer's instructions) and install the required driver software. 2. In case the files Sam.xml or Sequoia.xml don't exist in the driver software programs\Euphonics\EuCon\SQRL copy and paste it here from the folder program directory/Customize. 3. Go to system options/Hardware controller and select "activate EUCON". 4. Close the dialog. Your controller is now ready to use. Controller configuration Copy Sam.xml or Sequoia.
H ARDWARE CONTROLLER Frontier AlphaTrack
H ARDWARE CONTROLLER 1. AlphaTrack is supported in "Native" mode. Right clicking the AlphaTrack symbol in the toolbar switches the device to AlphaTrack Native. 2. Go to Samplitude/Sequoia's system settings/hardware controller and select AlphaTrack using the New button. Next, set the right side of the MIDI port to AlphaTrack. Close the dialog. The controller is now operational. 3. 4.
H ARDWARE CONTROLLER LOOP FLIP << >> STOP PLAY RECORD Loop mode Mixer Fast rewind Fast forward Stop Play Record TOUCHPAD Positioning Foot switch Record PUNCH WINDOW RTZ END Esc Enter Mode Punch marker mode Delete punch marker Cursor at project start Cursor at project end Cancel Enter Special modes Mode Control element Rotate Press Pan mode DIAL 1 DIAL 2 Track selection To the marker Set marker DIAL 3 PAN Reset pan FADER (controls the active element in the mixer, track editor, or plu
H ARDWARE CONTROLLER > TRACK Plug-in parameter DIAL 1 DIAL 2 DIAL 3 < TRACK > TRACK Frontier TranzPort Select plug-in Change parameters Change parameters Change parameters Previous parameters Next parameters 383
H ARDWARE CONTROLLER 1. TranzPort is supported in "Native" mode. By right clicking the TranzPort symbol in the toolbar, you will switch the device to TranzPort Native. 2. Go to Samplitude/Sequoia's system settings/hardware controller and select the Frontier TranzPort (Native) entry from the list via the New button. Next, set the right side of the MIDI port to TranzPort. Close the dialog. The controller is now operational. 3. 4.
H ARDWARE CONTROLLER JLCooper MCS-3800 1. Go to Samplitude/Sequoia's system settings/hardware controller and select the "JLCooper MCS-3800 (Native)" entry from the list using the "New" button. 2. Now set up the MIDI ports with the corresponding in and outputs of your MIDI interface on the right side. 3. Close the dialog. The controller is now operational.
H ARDWARE CONTROLLER Navigation Control element Function Cursor left Cursor right Cursor up Cursor down Mixer track 1 to the left Mixer track 1 to the right Mixer track 8 to the right Mixer track 8 to the left Area to view Control element Function PAGE 1 PAGE 2 PAGE 3 PAGE 4 PAGE 5 PAGE 6 PAGE 7 PAGE 8 BANK 1 BANK 2 BANK 3 BANK 4 DIAL 1~5 Functions window Control element F1 F2 F3 F4 F5 F6 F7 F8 SHIFT Track mode (see special modes) AUX mode (see special modes) EQ mode (see special modes) Active
H ARDWARE CONTROLLER Mode range Control element Function Modifier Modifier function M1 M2 Read automation Touch automation Shift Automation off M3 Latch automation M4 Overwrite automation M5 Trim automation Shuttle range Control element Function Modifier Modifier function Shuttle wheel Rotation ring Positioning W1 Scrubbing W1 Scrub mode W2 Punch start marker W3 Punch end marker W4 Delete punch marker W5 W6 W7 Locator range Control element Function LOCATOR numbers (0 ~ 9) E
H ARDWARE CONTROLLER Special modes Mode Control element Track mode DIAL 1 DIAL 2 Function DIAL 3 AUX mode EQ mode DIAL 4 Track pan DIAL 5 To the marker DIAL 1 DIAL 2 AUX level AUX level DIAL 3 AUX level DIAL 4 AUX level DIAL 5 Selection AUX range DIAL 1 DIAL 2 Level EQ band 1 Frequency EQ band DIAL 3 Quality EQ band DIAL 4 DIAL 5 Active control mode Band selection FADER TRACK 1 (controls the active element in the mixer, track editor, or plug-in that must be selected with the
H ARDWARE CONTROLLER Logic Control 1. 2. 3. Go to Samplitude/Sequoia's system settings/hardware controller and select Logic Control from the list via the New button. Now set up the MIDI ports with the corresponding in and outputs of the MIDI interface on the right side. Close the dialog. The controller is now operational.
H ARDWARE CONTROLLER FADER BANKS Control element Function < BANK BANK > < CHANNEL CHANNEL > FLIP GLOBAL VIEW Mixer track 8 to the left Mixer track 8 to the right Mixer track 1 to the left Mixer track 1 to the right Flip mode: Invert functions of dials and faders Mixer DISPLAY Control element Function NAME/VALUE SMTP/BEATS Timecode switch
H ARDWARE CONTROLLER FUNCTION BUTTONS Control element Function F1 F2 F3 F4 F5 F6 F7 F8 Set / jump to marker 1 Set / jump to marker 2 Set / jump to marker 3 Set / jump to marker 4 Set / jump to marker 5 Set / jump to marker 6 Set / jump to marker 7 Set / jump to marker 8 Modifier Modifier function SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL Move marker 1 Delete marker 1 Move marker 2 Delete marker 2 Move marker 3 Delete marker 3 Move marker 4 Delete m
H ARDWARE CONTROLLER AUTOMATION Control element Function Modifier Modifier function READ/OFF WRITE Read automation Overwrite automation SHIFT Automation off TRIM Trim automation TOUCH Touch automation LATCH Latch automation GROUP Copy automation mode to all tracks UTILITIES Control element Function SAVE Save UNDO CANCEL Undo Cancel Enter Enter Modifier Modifier function SHIFT Repeat
H ARDWARE CONTROLLER TRANSPORT Control element MARKER NUDGE CYCLE Function Modifier Modifier function SHIFT SHIFT Cursor at project start Cursor at project end Marker mode (see table 2) Object mode (see table 2) Loop mode DROP Punch marker mode REPLACE Synchronization CLICK Metronome SOLO REWIND FAST FWD STOP Activate LCD meter by holding "F1", "F2", "F3", or "F4" Fast rewind Fast forward Stop PLAY Play RECORD Record Cursor left Range to left ZOOM Cursor right Clip to right ZOOM C
H ARDWARE CONTROLLER AUX mode AUX 1~8 selectable using BANK AUX mode (phat channel) depending on selected track DIAL 4 Level EQ band 4 DIAL 5 Frequency EQ band 1 DIAL 6 Frequency EQ band 2 DIAL 7 Frequency EQ band 3 DIAL 8 Frequency EQ band 4 DIAL 1~8 AUX level DIAL 1 DIAL 2 AUX 1 level AUX 2 level DIAL 3 AUX 3 level DIAL 4 AUX 4 level DIAL 5 AUX 5 level DIAL 6 AUX 6 level DIAL 7 DIAL 8 Plug-in mode DIAL 1~8 Plug-in parameter DIAL 1~8 < BANK BANK > Marker mode Object mode Sel
H ARDWARE CONTROLLER 3. 4. Now set up the MIDI ports with the corresponding in and outputs of the MIDI interface on the right side. Close the dialog. The controller is now operational. The functions correspond with the Logic Control. Note: The number of tracks to be jumped when a bank is switched may be altered via the program's hardware controller setup options. These settings are available via Logic Control. Mackie Control 1. 2. 3.
H ARDWARE CONTROLLER ASSIGNMENT Control element 1 2 PAN Plug-ins EQ Function Press first time: Track mode Press second time: Active Control mode (see special modes) Press first time: AUX mode Press second time: AUX mode (phat channel) (see special modes) Pan mode (see special modes) Plug-in mode (see special modes) EQ mode (see special modes) DYN FADER BANKS Control element Function < BANK BANK > < CHANNEL CHANNEL > FLIP EDIT Mixer track 8 to the left Mixer track 8 to the right Mixer track 1 to
H ARDWARE CONTROLLER FUNCTION BUTTONS Control element Function F1 Set / jump to marker 1 F2 Set / jump to marker 2 F3 Set / jump to marker 3 F4 Set / jump to marker 4 F5 Set / jump to marker 5 F6 Set / jump to marker 6 F7 Set / jump to marker 7 F8 Set / jump to marker 8 Modifier Modifier function SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL SHIFT CNTRL Move marker 1 Delete marker 1 Move marker 2 Delete marker 2 Move marker 3 Delete marker 3 Move mar
H ARDWARE CONTROLLER FUNCTIONS Control element FDR GRP CLR SOLO MRKR MIXR TRANSPORT Control element < FRM Function Cancel Enter Save Function END Marker mode (see table 2) Object mode (see table 2) Loop mode PI Punch marker mode PO Synchronization FRM > Modifier Modifier function SHIFT SHIFT Cursor at project start Cursor at project end LOOP Metronome HOME REWIND FAST FWD STOP Activate LCD meter by holding "F1", "F2", "F3", or "F4" Fast rewind Fast forward Stop PLAY Play RECORD Re
H ARDWARE CONTROLLER Special modes Mode Control element Rotate Press Track mode ACTIVE CONTROL MODE DIAL FADER (controls the active element in the mixer, track editor, or plug-in that must be selected with the mouse beforehand) DIAL DIAL 1 DIAL 2 PAN Reset PAN Level EQ band 1 Level EQ band 2 Reset DIAL 3 Level EQ band 3 DIAL 4 Level EQ band 4 DIAL 5 Frequency EQ band 1 DIAL 6 Frequency EQ band 2 DIAL 7 Frequency EQ band 3 DIAL 8 Frequency EQ band 4 DIAL 1~8 AUX level DIAL 1 DIAL 2
H ARDWARE CONTROLLER Object mode REWIND Previous object FAST FWD Next object Note: All statements refer to MCU firmware 2.1.2 Crossfade editor (only Sequoia): Controller operation is inactive. Mackie Control XT 1. 2. Go to Samplitude/Sequoia's system settings/hardware controller and select Mackie Control XT from the list via the New button.
H ARDWARE CONTROLLER PreSonus FaderPort 1. Go to Samplitude/Sequoia's system settings/hardware controller and select the "PreSonus FaderPort (Native)" entry from the list using the "New" button. 2. Next, set the MIDI ports on the right side to USB audio device. 3. Close the dialog. Your controller is now ready to use.
H ARDWARE CONTROLLER Controller configuration Control element Function FADER Track volume SHIFT labeling Value control element SHIFT Function Return value for LED PAN Track pan MUTE Mute track Global mute A01200 A01501 SOLO Solo track Global solo A01100 A01601 REC Record track Monitor track (ASIO only) A01000 A01701 < Previous track / Bank "<" and ">" switch bank Next track / Bank A01300 A01401 A01400 A01301 A01500 A01201 ACTIVE CONTROL mode (see special modes) Read au
H ARDWARE CONTROLLER RECORD Record FOOT SWITCH Record A00700 A00001 Special modes Mode Control element ACTIVE CONTROL MODE FADER (controls the active element in the mixer, track editor, or plug-in that needs to be selected with the mouse beforehand) Notes: The foot switch is available for controller firmware 1.2 and up. To learn control elements for the FaderPort, enter the response values to the controller for learning so that the button LEDs also function.
H ARDWARE CONTROLLER Tascam US-2400 1. The Tascam US-2400 is supported in "Native" mode. Use the most current firmware. Start the device via the power button and hold down SEL (above the master fader) and CHAN. The device is now in "Native" mode. 2. Go to Samplitude/Sequoia's system settings/hardware controller and select the "Tascam US-2400 (Native)" entry from the list using the "New" button. 3. Next, set the MIDI ports on the right side to USB audio device. 4. Close the dialog.
H ARDWARE CONTROLLER Controller configuration Track range Control element DIAL 1~24 SEL 1~24 SOLO 1~24 MUTE 1~24 Function Pan, EQ, AUX (see table 2) Select track Solo track Mute track FADER 1~24 (with fadertouch) SEL (master) Track volume CLR SOLO FLIP Global solo Global mute MASTER FADER Master volume Shift function Track automation Record track Monitor track (ASIO only) Copy automation mode to all tracks Global record Flip mode: Invert functions of dials and faders 405
H ARDWARE CONTROLLER Navigation Control element CHAN PAN AUX 1 AUX 2 AUX 3 AUX 4 AUX 5 AUX 6 METER F-KEY Function EQ mode (see special modes) Pan mode (see special modes) DIAL 1~24 to AUX 1 DIAL 1~24 to AUX 2 DIAL 1~24 to AUX 3 DIAL 1~24 to AUX 4 DIAL 1~24 to AUX 5 DIAL 1~24 to AUX 6 Activate level meter in dial display Active control mode (see special modes) Shift function Read automation Touch automation Latch automation Overwrite automation Trim automation Automation off NULL Shuttle wheel Shut
H ARDWARE CONTROLLER DIAL 3 Quality EQ band 1 DIAL 4 DIAL 5 Level EQ band 2 DIAL 6 Frequency EQ band 2 DIAL 7 Quality EQ band 2 DIAL 8 DIAL 9 Level EQ band 3 DIAL 10 Frequency EQ band 3 DIAL 11 Quality EQ band 3 DIAL 12 DIAL 13 Level EQ band 4 DIAL 14 Frequency EQ band 4 DIAL 15 Quality EQ band 4 DIAL 16 EQ mode (2 press) DIAL 1 Level EQ band 1 DIAL 2 Level EQ band 2 DIAL 3 Level EQ band 3 DIAL 4 Level EQ band 4 DIAL 5 Frequency EQ band 1 DIAL 6 Frequency EQ band 2 DIAL 7
H ARDWARE CONTROLLER Tascam FW-1884 1. Go to Samplitude/Sequoia's system settings/hardware controller and select the "Tascam FW-1884 (Mackie)" entry from the list using the "New" button. 2. Next, set the MIDI ports on the right side to "FW 1884 Control". 3. Close the dialog. The controller is now operational.
H ARDWARE CONTROLLER SAVE/F1 Lock project REVERT/F2 Global mute SHIFT Global recording ALLSAFE/F3 CLR SOLO/F4 Global solo MARKER/F5 metronom LOOP/F5 "Loop" mode CUT Split object SHIFT DEL Delete CTRL Separate object with alternative crossfade Delete with time/ripple COPY Copy CTRL Duplicating and moving PASTE Insert SHIFT Repeat Modifier Modifier function ALT/CMD UNDO undo SHIFT Shift CTRL Ctrl Track range Control element Function ENCODERS 1-8 SEL 1-8 SOLO 1-8 MUTE 1-8
H ARDWARE CONTROLLER F7 F8 REW Automation OFF Transfer automation mode to all tracks Trim automation Mixer Read automation Overwrite automation Touch automation Latch automation Scrub mode Jog/Scrub Previous track Next track Timeline positioning Timeline positioning Previous bank Next bank Move object left Move object right Previous marker Next marker Create marker (auto #) Set punch in marker Set punch-out marker Fast rewind FFW Fast forward SHIFT Stop PLAY Stop Playback (second press: stop at
H ARDWARE CONTROLLER All elements with CTRL configuration may be learned in the control panel without providing a modifier, sine the CTRL configuration already takes place in the controller and sends separate IDs. All elements with a CTRL configuration may also be set up with SHIFT-CTRL. In the control panel, set the modifier to "Shift" (since the CTRL configuration takes place in the controller already), next press CTRL + the element and learn.
PRES ET KEYBOARD SHORTCUTS Preset keyboard shortcuts On the other hand, you may redefine this keyboard shortcut whenever you like via "Menu File > Program preferences > Edit Keyboard Shortcuts and Menu (view page 488)". Change, remove, create keyboard shortcuts. Clicking the "All" dialog opens an overview of all of the shortcuts defined there. Shortcuts in brackets (<>) cannot be changed. Note: Pressing the key combination "Alt + Shift" may cause Windows to switch keyboard languages.
PRESET KEYBOARD SHORTCUTS Edit menu Undo Redo Cut into clip Delete Copy Insert clip Delete with time/ripple Clear Cut with time/ripple Copy + clear Copy as… Copy to clip store Overwrite with clip Paste from ClipStore Insert from clips with time/ripple Overwrite with clip Ctrl + Z Ctrl + Y Ctrl + Shift + X Del C / Ctrl + C / Ctrl + Insert V / Shift + Insert Ctrl + Del Alt + Del Ctrl + Alt + X Ctrl + Alt + C Shift + C Ctrl + Shift + C Ctrl + Shift + X Ctrl + Shift + V Ctrl + Alt + V Alt + V / Insert Range
PRES ET KEYBOARD SHORTCUTS Manipulate range Move range start to left Move range start to right Move range end to left Move range end to right Fold range to left Flip Range right Beginning of Range -> 0 Beginning of Range <- 0 End of Range -> 0 End of Range <- 0 Range start to left marker Range end to right marker Split range Note range Other areas... Get range Get range length Saver marker Marker with name...
PRESET KEYBOARD SHORTCUTS Track menu Track properties Mute Mute / Inactive Solo Solo exclusive Record Ready Monitoring Lock Volume curve active Pan curve active Edit Volume Track EQ Track information... MIDI Controllers/VST Autom.
PRES ET KEYBOARD SHORTCUTS Move/edit objects/crossfade Object step size 1 (Left) object to left Right object to left (Left) object to right Right object to right Move object(s) left Move object(s) right Object start to left Object start to right Object end to left Object end to right Move crossfade left Move crossfade right Object start offset to left Object start offset to right Object end offset to left Object end offset to right Increase left volume Ctrl + 1 Alt + 1 Ctrl + 2 Alt + 2 Ctrl + Alt + 1
PRESET KEYBOARD SHORTCUTS Object end to right Move crossfade left Alt + Shift + 4 Ctrl + Alt + Shift + 3 Move crossfade right Ctrl + Alt + Shift + 4 Object start offset to left Object start offset to right Object end offset to left Object end offset to right Increase left volume Reduce left volume Increase right volume Reduce right volume Increase volume Reduce volume (Left) object content to left (Left) object content to right Right object content to left Right object content to right Object(s) conten
PRES ET KEYBOARD SHORTCUTS Play Play / Play loop Play with preload Play with Preload Only play selected objects Space Shift + Space bar Shift + P Ctrl + Space Play cut Play to cut start Play from cut start Play to cut end Play from cut end Play over cut Play upper audio material Play lower audio material Stop and jump to current position Playback parameters F5 F6 F7 F8 F4 Alt + Shift + Space Ctrl + Alt + Spacebar Num , P Playback mode Auto scroll Soft autoscroll Scrubbing active Scroll Shift + Sc
PRESET KEYBOARD SHORTCUTS Real time effects Elastic Audio Ctrl + Shift + E CD/DVD menu Set track Remove all indices CD track options Ctrl + Alt + I Ctrl + Alt + Shift + I Ctrl + Alt + Shift + D View menu Managers File Browser Object manager Track Manager Marker manager Range manager Source list manager Marker list input Take Manager Ctrl + Shift + B Ctrl + Shift + O Ctrl + Shift + S Ctrl + Alt + Shift + M Ctrl + Alt + Shift + B Ctrl + Alt + Shift + S Ctrl + Shift + L Ctrl + Alt + Shift + T Clips A cl
PRES ET KEYBOARD SHORTCUTS Get position and zoom level 1 2 3 Number block "1" Number block "2" Number block "3" Get zoom level 1 2 3 Number block "4" Number block "5" Number block "6" Horizontal Half section left Half section right Clip to play cursor/last stop position Zoom in Reduce range Show all Zoom to range Ctrl + Alt + Cursor left Ctrl + Alt + Cursor right Ctrl + Alt + , Cursor up, Ctrl+ Cursor right Cursor down, Ctrl+ Cursor left Ctrl + Alt + Cursor up Ctrl + Alt + Cursor down Vertical H
PRESET KEYBOARD SHORTCUTS Mouse Center click Wheel Start/stop play Horizontal scrolling Shift + wheel Fine tune active buttons/faders/wave zooming + Ctrl Horizontal zooming + Alt Vertical zooming + Ctrl + Alt Horizontal and vertical zooming + Ctrl + Shift Vertical scrolling in VIP (tracks) 421
SIGNAL FLOW Signal Flow Record During recording the record signal is routed through the ASIO buffer (ASIO only) and then recorded on the hard drive. Recording in Samplitude is designed in such a manner that it is actually not a real-time process. The input buffers coming from the sound card are collected in the buffer and passed on to the file system as larger blocks to be saved on the hard disk. Latencies are not important and the procedure is quite safe.
SIGNAL FLOW Signal flow with monitoring For all other models, three signal flows occur simultaneously: playback of the recorded tracks, recording of tracks to be recorded, and monitoring of the signals of the input. Samplitude is designed to function like the sync head of an analog tape machine. Temporal offset of the individual signal currents is compensated automatically; the playback of the signal is drawn out by the latency of the effects and the buffer.
SIGNAL FLOW Hardware monitoring Audio monitoring via the sound card in use or via external mixing hardware. With MME drivers, this is the only monitoring type possible.
SIGNAL FLOW Software monitoring Audio monitoring that includes the set recording track levels does not support effects. This monitoring option is only available when using ASIO drivers. Whether track effects in the recording track are audible or not during software monitoring depends on whether the "Hybrid Engine" is activated/deactivated. For more information about the Hybrid Engine, please also read the section "System options -> Monitoring settings (view page 27)".
GLOSSARY Glossary A Active section If you wish to use zoom commands with the position buttons or the menu commands (position bar) on a section, it's necessary to specify the section beforehand for which the corresponding positioning is required. This happens by clicking on the right or lower scroll bars of the section.
GLOSSARY C Clip Clip for audio files (Wave projects) The clip is a buffer where samples from wave projects can be copied into or from which you can paste samples into wave projects. The content of the clip can also be mixed with the data of a wave project. The clip always assumes the properties of the project where the data originated (bitmap resolution, sample rate, and mono, LR or stereo mode). The clip is presented on the screen by a window with Clip in the title.
GLOSSARY Note: Destructive editing can be used in virtual projects if offline effects are applied to selected objects or when working with wave editing in "Destructive" mode. F Fade An audio transition. These may be fade-ins (volume increase) or fade-outs (volume decrease). You can also fade between objects in the VIP (crossfade). G Grid/marker bar The grid/marker bar is located above the first visible track. This is divided into two halves.
GLOSSARY Tracks that play hard disk content (MIDI or audio files) may be taken out of "Low latency" mode in the Hybrid Engine by assigning the "Economy" property to them. These tracks will then use the play engine's buffer (VIP buffer size). L Latency Audio latency and response latency are important when working with audio applications.
GLOSSARY When unlinking the latency-filled effects or the reduction of latencies by modifying the latency-relevant parameters, errors/skipping will not occur. Synchronization always remains the same (real-time latency balance – playback not necessary) Time changing parameters (timestretching or resampling) may also be used without causing any synchronization problems. A delay of other audio streams is not necessary.
GLOSSARY Mouse mode Mouse modes add specially adapted functions to the mouse. O Object editor The object editor enables you to edit the properties of any audio object exactly. For example, the length of the object may be entered numerically or the fade characteristics may be determined here. Real-time effects, EQ, and dynamics editing may be applied to the object without having to access track effects in the mixer. The selected processing does not depend on any following changes to the object position.
GLOSSARY The range specifies sections where certain operations are executed (e.g. cutting, inserting, normalizing, fade in/out, move up, calculate effects, and delete). The range is also used to define loops that are included during project playback. Routing Re-route or allocate internally S Scroll bars The scroll bars are displayed on the lower and right edges of the arranger window. These bars may be used to navigate the project or to enlarge or reduce the window section.
GLOSSARY Up to three different sections can be displayed in a project at any one time. This way, the entire project can be displayed in one section, while a smaller part where you are working is shown in a different section. Setup button in the VIP The 8 buttons at the lower left edge of a virtual project may store 4 setups (S1....S4, incl. zoom level, display position, and display mode) and 4 zoom levels (Z1...Z4). To save, click the button while holding the "Shift" key.
GLOSSARY Surround bus A Surround bus is required if Surround effects are to be applied. Tracks that include Surround effects therefore have to be routed to a Surround bus where the appropriate parameters may be set. All tracks routed to a Surround bus have the Surround panorama module instead of the normal panorama fader for setting the output level of the track.
GLOSSARY Track header The track header is the front section of a VIP track. This contains various functions including mixer elements, buttons for loading plug-ins, and other track parameters. Track header with activated mute V VIP - virtual projects Virtual projects (VIP) are the top level of audio editing in Samplitude. In virtual projects, objects may arranged to create complex arrangements. All editing steps carried out in the arranger window are applied non-destructively.
GLOSSARY VirtClip see "Clip (view page 426)" Visualization The visualization feature displays the audio material visually in different ways. W Wave editing Non-destructive wave editing lets you take advantage of combining direct and virtual editing of audio material (wave projects), just like with VIP projects. Wave projects A wave project contains audio data. Objects in the VIP refer to this audio data.
GLOSSARY Z Zoom Use the zoom functions to display a larger or smaller part of the virtual project in the window. At higher zoom levels, the display is more detailed. Automation curves can be edited more easily when a higher zoom level is selected. To view larger projects at their full length, you have to zoom out of the VIP window, making the display less detailed, but displaying more content. Features a series of functions for working with various zoom levels Samplitude.
MENU REFERENCE Menu reference Extensive information on the individual menu points of Samplitude can be found in the following sections. The menus in Samplitude may also be individually customized, i. e. menu items may be hidden or shown. If menu items are described in the following sections that are not present in your menus, then they are probably only hidden. To display them again, activate them in the menu settings via "File -> Program settings > Edit keyboard shortcuts and menus (view page 488)".
FILE MENU File Menu This allows you to apply comprehensive settings for creating, managing, loading, and saving projects. New Virtual Project (VIP) Shortcut: E A new Virtual Project is created in the arranger with the specified number of tracks: Name: Enter the name for the new project. File path: Select the folder for saving the project. Create new project subdirectory: A subdirectory featuring the name of the project is automatically created in the directory selected in "File path".
FILE MENU Record arming setting of the first track Some mixer setup settings Playback mode Effect sequence on the tracks and mixer Grid offsets Please also read "System settings -> Project options -> General (view page 33)" for more details about project options. Track number: The start track count of the virtual project is defined here. Use "Track -> Insert new tracks... (view page 531)" to add tracks at any time. Sample rate: Defines the sample rate of the virtual project.
FILE MENU Note: If a VIP is active, the loaded wave projects are loaded immediately into the VIP as objects. The range of the active track displays the position. "CD arrangement" mode is the exception. In this case, the objects are displayed below one another independent of the range. The distance between the objects corresponds to the pause time (CD/DVD menu -> Set start pause time (view page 792)).
FILE MENU TheOMF import transfers the following content: Object position/wave offset - sample exact Object fade in/out - linear only Object crossfade - linear only Object volume Track names Note: When importing AAF/OMF files video files will also be imported. These can only be played when the program 'understands' the format and when the corresponding codecs are available on the system. Find the AAF/OMF file you want to import using the import dialog.
FILE MENU Edit list (*.aaf, *.
FILE MENU Note: When importing AAF/OMF files video files will also be imported. These can only be played when the program 'understands' the format and when the corresponding codecs are available on the system. Find the AAF/OMF file you want to import using the import dialog. In a further dialog you can choose the track panorama when importing, so that the uneven track numbers in the panorama are placed on the left and the even on the right. Table of Content (*.
FILE MENU Attention: The monitoring function uses the Windows Multimedia MME standard output device. Many audio cards shut down the Windows MME system when ASIO drivers are used, which means problems may occur during monitoring. For this reason, the preview function is deactivated by default when ASIO drivers are used. The "Load audio file" option activates the preview function again at any time. The button at the bottom right of the dialog opens the options for loading audio files (view page 445).
FILE MENU Convert compressed files to wave format: Compressed audio formats such as MP3 may also be loaded and played directly by Samplitude. This requires increased CPU calculation. Activate this option to convert files like this into an uncompressed wave format. Import Audio This menu item is hidden by default. To display it again, activate it in the menu settings via "File -> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)".
FILE MENU Load MIDI File This function loads a MIDI file. Detailed information about this topic is provided in "MIDI in Samplitude -> MIDI - record, import, edit -> Importing MIDI files (view page 242)". Keyboard shortcut: Shift + M Load Video File This dialog helps load a video into the current project. After selecting a video, preview it or inspect its properties. If a check is placed next to "auto play", the selected video file will play automatically in the preview window.
FILE MENU No change (file plays back at incorrect speed) Detailed information about displaying video objects is available in "Video setup (view page 358)". Import Audio CD Track(s) This command imports the audio contents from a DVD into Samplitude (view page 777). Import Audio DVD This command imports the audio contents of a DVD into Samplitude (view page 780).
FILE MENU Save Project Copy... A dialog open to create a copy of the project, which may be saved under a different name. In this case, the date and time are added automatically to the project name. Of course, you can name the copy any way you like. Once saved you will be able to continue working on your original project. Save Project as Template... This option saves the current project as a project template. The template will save all project-based settings like grid form, track number, etc.
FILE MENU 3. Export settings: Specify which area of the project should be exported here. Multiple files may be exported, provided their starting points have been specified with the placement of track markers or other markers. This way, an almost automatic export of individual files from within an arrangement is possible. Note: The audio data from HD wave projects may be further processed or imported directly as wave files from HD wave projects.
FILE MENU Real Audio... Exports the project in Real Audio format (.RA). Real Audio is an audio format designed especially for Internet applications. This is especially useful for streaming audio. In format the settings, specify the bit rate of the transmission speed (modem, ISDN, etc.). Similarly, details on the content and copyright information may also be added. Content settings: Select presets for the type of audio or video material (only voice/background music, music, stereo music) here.
FILE MENU AIFF File with QuickTime... Exports the project in AIFF format. In this case, QuickTime is used as the encoder. This format also enables streaming playback of audio and video files over the Internet. Like with Real Media exports, the corresponding video size, frame rate, and codec settings may be adjusted for "AIFF with QuickTime" export as well. This function requires the installation of QuickTime on your computer.
FILE MENU 1 Mono -> LR Wave In this case, LR wave project with two identical channels is created from a mono wave project. The original sample is duplicated here. Save in format Use this function to save wave projects in various formats. This can be useful when, for example, RAM projects are to be converted into HD Wave Projects or LR Wave Projects (two mono samples linked to one another) are to be converted into Stereo Wave Projects.
FILE MENU If you convert from 32-bit float to 16 or 24 bits, dithering occurs to reduce subjective quality loss. Working with 8 Bit Wave Projects A smaller word width may be useful when editing audio for multimedia applications, since these applications may use a resolution of 8 bits to save storage space. The downside of such a low bit resolution is that as the quality of the so-called SNR (signalto-noise ration) drops, and the quantization noise increases.
FILE MENU Export to "MAGIX Video Pro X"... The following trackbouncing dialog opens for exporting to the external MAGIX program "Video Pro X". Select whether only the video objects should be transferred, whether an Audio downmix (stereo/Surround bounce) should be made, or if the Audio objects should be transferred individually. If the "Continue" button is pressed, a save dialog will appear. Export Video Sound...
FILE MENU Export MIDI File... The particular file format may also be specified when exporting a MIDI file. One track corresponds to format 0, multiple tracks to format 1. In addition, the tempo map may also be exported, in which case the support point count per beat for tempo runs can be selected freely. The standard MIDI file (SMF) export always takes place in the current VIP-PPQ resolution. The markers are also exported.
FILE MENU If you bounce into the 32-bit float format, overmodulation cannot occur. Normalize your project before bouncing using the master normalization function in the Mixer ("N" key) in order to get an precisely modulated file. You can always save the affected settings as presets. Trackbouncing settings: Source Routing: In this field you determine the outputs to be written to the file. Master: The mixer's master output is written as a file. This is the standard for all exporting processes.
FILE MENU From the project start to the last object: In this case, the bounce process includes all objects from the project start to the end of the last object, plus the time it takes for the sound to dissipate. Complete project: If this option is selected, the entire virtual project is bounced. Vertical/Special: All audible tracks: All tracks that have not been muted are calculated into a new file. Selected tracks only: All of the selected tracks are bounced together.
FILE MENU Create new VIP: A new virtual project (VIP) will open. The bounced audio material is inserted into the first track of the created project. Trackbouncing settings: Format The target format may be set flexibly. Wave and AIFF files in 8/16/24/32-bit mono/stereo at variable sample rates and four different quality levels are supported, as are MP3, Ogg Vorbis, and FLAC files at variable sample and bit rates. The desired codec may also be selected by clicking "Format settings...
FILE MENU All formats that cannot be directly opened by Samplitude cannot be created in the trackbouncing window. For bouncing into Real or WMA formats, use the "File -> Export (view page 449)" command. Trackbouncing criteria: Options Exclude master effects from bouncing: Master effects are not included during bouncing. Exclude track effects of the target track: Track effects of the target track are not included if they are not identical with a source track.
FILE MENU 32-bit (float): The resulting file features a 32-bit (float) rate. This setting is practical if 24-bit objects or float objects are used in the bouncing and their high rates should be retained. 16-bit (integer): The resulting file is 16-bit rate. This setting is practical when the recording needs to be burned to CD and when there are no 24-bit objects in use. If 24-bit objects are being used during bouncing, these may be reduced to 16-bit using dithering options.
FILE MENU Export project as AAF/OMF TheAAF Export transfers the following content: Object position/wave offset - sample exact Object fade in/out - linear only Object crossfade - linear only Object volume Object pan Object volume automation Object pan automation Track names Track Volume Track Pan Track Volume Automation Track Pan Automation VIP markers Timecode offset Timecode format (24, 25, 30 fps) Processing timestamps in audio files OMF Export transfers the follow
FILE MENU Destination path Enter here where you would like to export the AAF/OMF file. Media files Embed in AAF/OMF file: If you select this option when exporting then the whole project will be saved as a single file, which contains both media content and metadata. Copy into target folder: If you select this option, media files will be placed next to the AAF/OMF into the target folder. Don't copy.
FILE MENU Clean up Collect project files This dialog displays all files located outside of your project folder. All files marked in the "Edit" column can be compiled in the project folder. You can ether copy or move the files outside of the project folder into it or create a new subfolder. Samplitude displays the amount of space required and how much is currently available.
FILE MENU Copy unfreeze data: Copies all unfreeze data in the VIP into the new directory. Copy Revolver track data: Copies all Revolver track data included in the VIP. Copy ClipStore data (Sequoia only): Copies all of the ClipStore data used in the VIP. Copy video data: Copies associated video files. Copy effect used files: Copy the files used by effects into the new directory, e.g. Room Simulator or the vocoder.
FILE MENU If multiple virtual projects refer to the same wave files, all of these projects should be open as well. This is the only way to monitor and prevent data loss. Using the "Remove unused samples" function saves storage space, but corrections to the objects' lengths are limited, since all audio data outside the object borders are removed. For this reason, specify backup reserves with "Save additional samples for each object".
FILE MENU Project Properties Snap and Grid Setup In the general project options dialog you can choose the kind of grid and its activation. Shortcut: I Virtual projects have an object grid, area grid, beat grid, and frame grid. In the object grid, the objects may only be moved to the start, end or the hotspot (view page 562) ("Object -> Set hotspot/delete hotspot (view page 562)"). The reference point is normally the front edge of the object that is to be moved.
FILE MENU Use snap offset also for grid: The snap offset is used as a reference size for the grid. Mixer setup This item enables project and mixer settings to be configured, saved, and loaded. Shortcut: Ctrl + Shift + M Project and Mixer Configuration Set the number of tracks, AUX buses, and submix buses. You can also define effects and signal routing for the tracks and the master section. The window of the first track is always open for effects routing of individual tracks/buses.
FILE MENU Keep Current Number (Tracks, AUX and Submix Buses) Check this box to prevent the current settings from being overwritten when loading a mixer preset. The current status of this checkbox is also saved along with a preset. If you quickly want to add a few tracks, (e.g. 4 AUX buses and 4 submix buses), you only have to load the "4 Busses 4 AUXes" preset. When loading a preset, the respective tracks and buses will be added where the box is not checked.
FILE MENU Media link The media link in "Options -> Project properties" allows you to link video and MIDI files with your Samplitude project to play them simultaneously. More detailed information about the media link is available in "Synchronization -> Media link (view page 358)". Playback Options More information is available in "Playback -> Playback parameters (view page 578)". Shortcut: P Project Auto Save… The Autosave dialog is available via the project options.
FILE MENU Autosave Mode Autosave mode may be activated with the corresponding check box. Select from the following options: Save to original: Overwrites the original file in specific intervals with the current status. If the option Save in subfolder is selected, the previous status, i.e. the pre-previous status will also be updated in the Backup subfolder. Add backup file (*bak.VIP): Adds a backup file and updates this at specific intervals.
FILE MENU Wave Project This displays a list of the data included in the project. Select the respective file using the mouse to display the individual information. The corresponding BWF information will be displayed in the right half of the window. The main application of the BW manager, however, is defining the meta data included in the broadcast wave extension of the recorded audio material. This metadata is then available to all users of the audio file in the future.
FILE MENU Timestamp: The timestamp saved in the BW (broadcast wave) extension is displayed here. This is the timecode for recording the file, which is identical with the timecode of the first recording if the recording was synchronous. For other applications, this timestamp provides information about the time on the day of recording. The timestamp may be edited or applied from the object position. You can assign the timestamp from the object positions to all wave files.
FILE MENU Program Preferences System options Specify all of the important settings for Samplitude in this dialog. These include: System options: Audio setup, audio devices, MIDI, hardware controllers, metronome, record, play, performance, advanced buffer settings Program preferences (program): General, undo, object locking Keyboard, menu & mouse: Keyboard/menu, MIDI editor, special keys, mouse, mouse wheel.
FILE MENU MIDI For more details about MIDI settings, see "System settings -> MIDI settings (view page 31)". Hardware Controller Detailed information about this is available in "Hardware controller". Metronome options Detailed information about this is available in "File -> Program Preferences -> Metronome Options (view page 84)". Record This dialog enables the selection of various dialog configurations and cursor behavior when recording. Format: Choose from 16 bit, 24 bit or 32 bit (float).
FILE MENU Read CD/DAT marker DAT devices and several professional CD players output digital marker information via an SPDIF output e.g. CD track markers or DAT markers). This recording option reads this marker information from the SPDIF input of the sound card and applies it to the VIP, provided that the selected audio device supports this.
FILE MENU Recording button in recording options can stop recording: Specify that the "Record" button in the Recording options (shortcut: Shift + R) is able to start or stop the recording process. Record button ends playback after standard recording: If this option is activated, then the running recording and playback may be ended by pressing the "Record" button in the transport console. Playback More information about playback settings is available in "Playback -> Playback parameters (view page 578)".
FILE MENU If you own a system with multiple CPUs, you will be able to get higher performance from your system for processing audio, provided that you activate this option. However, using multi-CPU support can lead to incompatibilities with plug-ins that are specified for a set track processing series. ASIO priority boost: Among all threads of the application, special priority is granted to the ASIO thread. This option is a preset and does not need to be modified.
FILE MENU Program General Open VIP and record window on program start: If this option is active, Samplitude will automatically open an empty virtual project (VIP) and the "Recording parameters" dialog when the program is started. Open wave projects in destructive editing mode: If this option is active, wave projects will be opened in destructive editing mode.
FILE MENU Increase the VIP buffer size (keyboard shortcut: Y) up to 16,000 or 32,000 samples. Note the message displayed in the status bar in case overload occurs during real-time previewing of complex effects like the Denoiser or FFT analyze filter. Hide wave projects loaded into virtual projects: Hides windows in wave projects that are loaded directly into the VIP.
FILE MENU Keyboard, Menu & Mouse Detailed information can be found via "Menu File -> Program Preferences -> Edit Keyboard Shortcuts and Menu (view page 488)". Designs Skins In this dialog, select different skins for the project, the mixer, and the transport console. Use the various skins to adjust the color and graphical display of the Samplitude interface.
FILE MENU Colors All colors used in the program can be set here. You can also load and save these colors as presets. Use automatic sample colors for record: A separate random color is chosen for each recorded object per track. Redo Restore last state: The last status of the color settings prior to opening the dialog was opened is restored. Reset...: Reset the color settings to those of the previous or original color state. Previous state: The previous color settings will be restored.
FILE MENU Reset object colors to track colors: Sets the object foreground colors of the waveforms to the track colors. Object background to track colors: Sets the object background colors to the track colors. Semi transparency view: Some effect dialogs and editors feature transparent displays. These may be deactivated here to increase performance. Effects Dithering You can find out more about this by reading "Dithering options..." (view page 498).
FILE MENU The following dialog enables the listed settings to be saved and loaded conveniently. This makes it possible to save the complete program settings onto a mobile storage device for use on other Samplitude workstations. The program settings are saved as "Settings Container Files (*.INZ)". Save: Press the "Save" button to save the current project and program settings in a "Settings Container". All of the program settings will be saved, including those that are not checked.
FILE MENU Load: Select a program setting for Samplitude from the list above or import the settings via the folder button. Specify via the tree structure which "Ini" files or "Preset Files" for the selected container file should be used. Now press "Load and restart" to activate the settings. Samplitude will restart and a backup of the last settings will be created.
FILE MENU Project options General: Please also read "System settings -> Project Options -> General (view page 33)" for more information. Auto save: Detailed information about this is provided in "File -> Project Properties -> Project Auto Save (view page 470)...". Mixer setup: Detailed information is provided in "File -> Project Properties -> Mixer Setup (view page 468)...".
FILE MENU Varipitch/Varispeed mode Vertical slider: This controller defines the playback from -200% to +200%, in which case negative values cause the project to play in reverse. Pitch: Double clicking this field enables the speed factor to be input directly, e.g. 0.5 for half speed, 2.0 for double speed.
FILE MENU Shortcuts and Menu Settings This dialog allows you to specify keyboard shortcuts for every menu function in Samplitude. It's possible to set the commands you use most often to a special key combination in order to open them quickly. You can also hide menus that you don't really use. When you close Samplitude, the shortcut settings are saved in the Windows folder file "Sam_d.ini" so that they are available automatically the next time the program is opened.
FILE MENU Combinations of any key with "Shift", "Alt", or "Ctrl" may also be used. You can now assign the new shortcut with the button at the far right. Please do not use the space bar, "ESC", or "Ins" key (0 in the number block), since these keys are permanently assigned in Samplitude and cannot be changed. Assign: This button activates the entered key combination as a new keyboard shortcut. Find keyboard shortcuts: Click the input box underneath the "Shortcut..." bar.
FILE MENU Temporary switch for "Zoom mode (view page 101): Activates zoom mode as long as the assigned keyboard shortcut/key combination is held down. Switch for "Scrub mode (view page 107): Switches to "Scrub" mode indefinitely until the next time play stops. Temporary switch for "Cut mode (view page 70): Activates cut mode as long as the assigned keyboard shortcut/key combination is held down. Multi-tap sequence key: Pressing this key multiple times provides special functions.
FILE MENU Select an available button and press "Insert" to add the selected button to the toolbar. Select an available button and press "Del" to remove the selected button from the current toolbar. Reset Toolbars Resets the toolbars to default settings. Select whether individual toolbars should be reset or if all of them should be reset via "Reset all toolbars". If the file "Samplitude_TB.ini" is deleted from the Samplitude folder, then the default settings will be reset.
FILE MENU sound during a fade out or for volume curve changes more visible. This mode also offers good visibility when crossfading audio material. Halved waveform: Switches the graphical representation of the samples to half the waveform display size. Separate stereo: If this option is active, stereo tracks are displayed separately one above the other. Draw envelope: If this option is active, an outline is drawn around the envelope of the waveform.
FILE MENU Gray out muted objects/tracks: Muted objects and tracks will be shown gray. The second column is especially useful for a more clear crossfade display. Standard: The waveform of the second object is drawn over the waveform of the first object: Envelope only: When this radio button is selected, only the waveform outline (envelope) is drawn. Both objects are well visible in crossfades: Transparent: If this button is selected, the colors of both crossfade waveforms are overlapped.
FILE MENU VIP Various VIP components (buttons/sliders, peak meters, show border, arrangement text, compressed waveform, and CPU peak meter) can be activated/deactivated here. Buttons/slider displays the track header with all mixer controls, i.e. the channel faders, solo buttons, etc. If you always have the track editor open, then you won't have to use these functionally identical control elements at this location.
FILE MENU Use track color: The track color will be applied used as the background color. Large Object Handle: The object handles are displayed larger. Object properties: This option enables object settings like EQ, dynamics, panorama, effects or plug-ins to be displayed with abbreviations in the object. Object block symbol: If a checkmark is set, a key will appear on the bottom of an object, which can be used to lock and unlock objects (view page 549).
FILE MENU Waveform color Default color setup: The waveform contains the default color set in the color setup. Details about the color setup can be found in the menu reference under "File > System/Audio -> Design -> Colors (view page 482)". Red/blue alternation: This display mode colors the objects beside the waveform alternately red and blue so that crossfades in the "Transparent" and "Interlaced" draw modes are optimally visible.
FILE MENU Spectral display: Here you can select various spectral colors palettes. The graphical data that has been created will be saved in an extra *.hs file. The graphical interpretation of the music is displayed in the Spectral display using a spectrogram. This displays the frequency proportions in a time curve. The volume of frequencies is visualized via a color code or via its brightness.
FILE MENU Dithering Options... How does dithering work? An audio signal is quantized at a higher or lower resolution with every A/D conversion. During quantization, the signal receives an echelon form via limiting of the possible amplitude values. An 8-bit signal, for example, possesses only 256 amplitude values. This echelon formation causes distortion and thereby deforms the signal, especially impairing the sound of the lower levels.
FILE MENU Dithering Options No dithering, math. rounding of sample value: This mode converts the signals of 32-bit float via precise mathematical rounding without dithering. The rounding involved makes sure that surplus commas are not simply removed, and it also prevents signal distortions. Dithering with linear spread noise: This converts audio data at 32-bit float via dithering with noise featuring amplitude values that occur at regular intervals.
FILE MENU POW-r #2 (noise shaping): This function uses additional noise shaping across a wide frequency range to extend the dynamic range by 5-10 dB. POW-r #3 (noise shaping): This function uses additional, optimized noise shaping to extend the dynamic range by up to 20 dB between 2 kHz and 4 kHz. The human ear is most sensitive to this frequency range.
FILE MENU For special cases, you can set and save your own buffer settings. In addition, special presets are available, e.g. for scrubbing and ASIO applications. Program Buffer (in stereo samples) VIP Object Buffer: Since error-free playback is usually more important than fast reaction times, this value should be increased when playing multiple tracks. This is the only setting relevant for playback and editing in virtual projects.
FILE MENU Activate TrackSpeed: Set a check mark here to activate TrackSpeed. Load File Cache in Stopped State If this option is activated, the file cache will be preloaded each time the play cursor is repositioned. You can recognize this by the "preloaded cache" notification that appears in the bottom right status bar. The next play start happens automatically because the necessary audio files are already present in RAM. Read Ahead: Enter how many seconds of the VIP can be preloaded in this field.
FILE MENU Locking options Select which functions should be disabled by locking objects or tracks here. You can select the following options: Locking objects Disable moving: Prevents objects from being moved horizontally. This avoids unintentional offsets between individual tracks for multi-track recordings. Disable vertical movement: Prevents objects from being moved vertically. Disable volume changes: This deactivates the object's volume handles.
FILE MENU Destructive Effect Calculation… Choose in the advanced destructive effects calculation options (view page 601) if you want to add the effect to the original file when editing destructively, write it into the effect file, or create a new effect file for each calculation. More Disconnect Internet This menu item allows you to terminate an existing Internet connection directly from within Samplitude. Append Project With this function, a project can be appended to another one.
EDIT MENU Edit Menu This menu features functions that are applicable only to wave projects ("Edit -> More -> Copy to"), and others are only for virtual projects ("Cut silence"). Edit functions like "Extract" require range to be selected; other functions like "Copy" are available only for active objects. The start and end points of the selected range determine the start and end points of a cut, and the vertical position indicates the tracks that are affected by the edit.
EDIT MENU Click: Selects objects. Click + Shift: Selects multiple objects (including all objects between two clicked objects). Click + Ctrl: Select multiple objects. Drag + Shift: Moves an object (or a group of objects) onto a different track; the horizontal position remains the same. Drag + Ctrl: Duplicate one or more objects. Drag + Shift + Ctrl: Duplicates one or more objects on a track; the position is maintained.
EDIT MENU Range mode In this mode, only ranges and the play cursor can be manipulated. Detailed information about "Range" mode is available in "Screen elements -> Mouse mode bar -> Range mode (view page 69)". Left mouse button: Drag: Stretches and moves ranges with the "Shift" key. Clicking beside range: Sets the start position of the play cursor. Held down "." period key: Switches temporarily to "Object" mode to move objects.
EDIT MENU Object mode In this mode, objects may be moved and curves may be edited with the left mouse button. Detailed information about curve modes is provided in "Screen elements -> Mouse mode bar -> Object mode (view page 70)" Left mouse button: Click:Selects objects. Click + Shift: Selects two objects, including all objects in between the two objects. Click + Ctrl: Select multiple objects. Drag objects: Moves objects in the set grid steps.
EDIT MENU "Object and curve" mode In this mode, you can move objects and edit curves using the left mouse button. Left mouse button: Click:Selects objects. Click + Shift: Selects two objects, including all objects in between the two objects. Click + Ctrl: Select multiple objects. Drag objects: Moves objects in the set grid steps. Drag + Shift: Moves an object (or a group of objects) onto a different track; the horizontal position remains the same. Drag + Ctrl: Duplicate one or more objects.
EDIT MENU Left / Right mode Use this function to switch to the Left / Right mode. The right mouse button then controls object functions, the left one controls manipulations of the range. Left mouse button: Double click on volume and panorama automation curves: Creates a new curve event; another double click on the same curve event deletes the event. Right mouse button: Click: Selects objects. Click + Shift: Select multiple objects.
EDIT MENU Right mouse button: Context menu Pitchshift/Timestretch mode The object handles below and in the centre can be used for directly setting the playback speed and pitch. The timestretch Mouse Mode simplifies working with tempo markers. Create BPM markers (Tempo changes) and by directly clicking the desired playback position and holding down Shift. You can adapt the tempo by moving the mouse vertically while holding down "Shift".
EDIT MENU mouse button on the "Track automation" field in the track editor, and place a check mark for the desired parameters. Now in the track you can draw in the curve of the selected parameter using the pen in Automation Draw mode. The selected parameter's curve can be seen in the track in the foreground; all other curves are optionally displayed as thin lines via the context menu.
EDIT MENU Right mouse button: Changes the object's wave form color Object Mode Detailed information about object modes is available in "Screen elements -> Toolbars overview -> Object modes (view page 77)". Undo Samplitude offers a secure way of tracking your changes in Virtual and Wave Projects, which makes it easier to undo work steps. Up to 100 changes can be kept in the memory using the undo function in "Menu > File > Program Preferences > Undo Definitions (view page 497)".
EDIT MENU Copy as… (Wave-Project) This function copies the selected range from a wave project into a new file. Shortcut: Shift + C Copy + Clear Copies the current range to the clipboard (clip), removes it from the project, and replaces it with silence. Shortcut: Ctrl + Alt + C Cut Cut Virtual projects (VIP) In the case of virtual projects, the selected area will be copied into the virtual clip (VirtClip) and removed from the active project.
EDIT MENU If the range is selected, the cut will be made at each border. Ensure that the object that is to be edited is contained within the active range. If necessary, all objects may be activated by double clicking on the range selected in the range bar. In this case, it is not necessary to select the objects beforehand. Shortcut: T Split objects at Marker Positions The object is split into pieces at the marker positions that lie within the object borders.
EDIT MENU Paste with Time/Ripple This menu option inserts the clip at the position of the cursor or at the start of the range. The audio material after the cursor position will be moved down by the length of the range (ripple, shuffle). Shortcut: Ctrl + Alt + V Overwrite with Clip The current range will be overwritten with the contents of the clip. The length of the clip will not be reduced. The data previously located at this position will be overwritten.
EDIT MENU Wave projects The files of the selected area will be deleted and the segment of the wave project located after the area will be pulled into its place. Caution: If you are using offline Audio edit mode and have deactivated the "Undo" function ("Options -> Program preferences -> Undo Definitions (view page 497)"), the files cannot be restored. Delete with Time/Ripple This command deletes the marked range. Material later than the end of the range will be prolonged by the length of the range.
EDIT MENU Threshold value for used signal (dB): If the signal rises above this value, the object will be cut at the corresponding position. The "Minimum length of silence" parameter sets the length which silent passages should be applied so that they can be selected and deleted. This enables you to remove very short passages of silences from the cut. With the "Crossfades" option, you can create automatic crossfades between at the cut positions of the objects.
EDIT MENU Insert Grid Position Marker Detailed information about the "Grid Position Marker" is available in chapter "Tempo Editing > Grid Position Marker". (view page 305) Tempo Scaling With this menu command all BPM values of the selected tempo curve points can be scaled with one adjustable factor. Ignore All Tempo Markers / Use Project Tempo With this option you can ignore any previously created tempo markers in your project, so that only the project tempo observed.
EDIT MENU Move Range Start Right This function moves the beginning of the range in the current arranger window by one grid unit to the right. The length of the movement depends on the set grid value. This may be adjusted via "Project options -> General" (Shortcut: "I", "Ctrl + Shift + #"). Shortcut: "Alt + *" (number block), right arrow Move Range End Left This function moves the end of the range in the current arranger window one grid unit to the left.
EDIT MENU Shortcut: Ctrl + Page up Beginning of Range <- 0 Choose this option to move the beginning of the currently marked range left to the previous zero amplitude crossing. Shortcut: Shift + Page up End of Range -> 0 Choose this option to move the end of the currently selected range to the next zero amplitude crossing. Shortcut: Ctrl + Page down End of Range <- 0 Choose this option to move the end of the range left to the previous zero amplitude crossing.
EDIT MENU Range Over All Selected Objects Choose this option to extend the range over all selected objects. Remove Range This command removes the current range from the grid and marker bar. This function is also available by right clicking in the grid and marker bar. Range Not Over Tracks This command selects the selected range from the grid and marker bar only, and not in the tracks.
EDIT MENU All current ranges in a project may be viewed via "Tools -> Manager -> Range manager". Shortcut: Alt + F2 ... F10 "Alt + F4" however, should not be used, since this is a Windows command that closes the current screen. Similarly, "Alt + F9" should not be used either, since this is used for the 4point cut command in Sequoia. The "Other..." dialog may be used to define additional ranges featuring freely assigned names. Shortcut: Alt + F11 Get Range Open previously saved ranges via this command.
EDIT MENU The crossfade editor is opened by clicking the toolbar button or via menu "Edit -> Crossfade editor". You can also use the keyboard shortcut "Ctrl + F". Use the crossfade editor to conveniently and efficiently edit all aspects of a crossfade. All changes are non-destructive and can be undone. Crossfading with the crossfade editor In the VIP, select the objects which you wish to fade into and open the crossfade editor.
EDIT MENU Exponential Logarithmic Cosine Sine/cosine The faders may still be used to change the curves in the corresponding available range. Linear curves require less computer power than non-linear. Note: The settings for fading in/out in the crossfade editor are applied to the selected object if it does not overlap any other object. Global settings: Set The current settings are defined as by default.
EDIT MENU Enable asymmetrical crossfades: The fade offset settings of both objects are no longer connected to one another and can therefore be set independently of one another. Auto Crossfade Active With this option, all newly recorded or cut material in a VIP (or material that is dragged from a wave project into a VIP track) has an automatic fade-in applied to the start and end.
EDIT MENU compressor, change them all to 16-bit mono, resample them on 22 kHz, and then save them all as MP3 files. Tasks The task list is on the right edge of the batch processing window. New jobs are created by activating the “Add job” button. If you select a job (with a mouse click), the four settings tabs are displayed (source files, effects, target format, target files). "Remove job" removes the selected job. “Perform jobs” starts the batch processing.
EDIT MENU Effects 1. Normalize: Enter a target maximum amplitude value in % or dB. For example, a value of 75% corresponds to -2.5. Alternatively, you may also enter volume changes in dB. Detailed information about normalization is available in "Effects -> Amplitude -> Normalize (view page 603)". 2. Master effects: To avoid redundancy in the batch processing dialog, effects settings have been integrated with the mixer preset files.
EDIT MENU Target format All settings in this dialog can be saved as presets. You can freely choose the bit resolution (8/16/24/32 bit float), the sample rate, stereo/mono/left/right as well as the save format with the corresponding format settings. You can find out more about sample rates in the "File > Effects > Sample manipulation > Adjust sample Rate (view page 682)". You can find out more about file formats in the "Menu > File > Export (view page 449)".
EDIT MENU Replace source files: The original file is replaced with the edited one. If the file is used in a VIP, the VIP will be closed first. Save files with new name to the source directory: The edited file is copied back into the source directory and the file name will be expanded with an additional "file name prefix" and "file name suffix".
TRACK MENU Track Menu Insert New Tracks Add One Track Use this function to add a new track to the last track in the project. Add Several Tracks To add multiple tracks, select the command "Add several tracks". A dialog window appears to select the desired number of new tracks. The maximum track count in Samplitude is limited to 999 stereo tracks. Each of these tracks can also act as a AUX bus and/or as a submix bus. Insert Track(s) This command adds one empty track at the end of a selected track.
TRACK MENU As soon as you have creates a Surround bus, you can route the exiting signal of an object to this Surround bus and set the Surround panorama independently from the track panorama settings. The Surround master is created simultaneously when a Surround bus is created; the individual channels are routed to the different output devices. New Surround AUX Bus Use this command to create a new Surround AUX Bus. A Surround AUX bus allows integration of Surround effects.
TRACK MENU Paste Track(s) This function inserts all tracks copied into the clipboard (VirtClip (view page 427)) above the selected track. Deletes Track(s) This function deletes all selected tracks. Track type Here you can specify whether the track should be an audio track or a MIDI track. Moreover the track can be defined as a submix and/or AUX bus. So you can define the track as Economy Track.
TRACK MENU Ungroup track control group You can use this function to ungroup. To do so, click on an element in the control element and select "Ungroup track control". Hide Track This command hides the selected track from being displayed in the track view. It will, however, remain visible in the mixer and will continue to play there. The menu item "Show all tracks" shows this and all other hidden tracks. An overview of all tracks including their status of visibility is included in the track manager.
TRACK MENU Detailed information about freezing plug-ins is provided in "Software instruments/VST plugins -> Freezing plug-ins (Freeze)". Track Freeze for AUX Buses/Submix Buses Submix and Aux bus tracks may also be frozen. This way, you can get a complete group of tracks to release the required CPU load including all effects, fades, crossfades, and automation settings in one step. Submix Bus Tracks routed onto the submix bus are not changed. They remain the same.
TRACK MENU Track Effect Settings Track Routing Dialog You can apply all important settings for real-time effects In the track routing dialog. Track Routing Dialog - Routing All available effects are listed in the effects list in the respective context (track, object, or master). By right clicking, you can directly access the settings dialog of the respective effect.
TRACK MENU Reset: Returns all settings to the Samplitude basic settings. Copy/Paste: Use these buttons to quickly apply the settings to different tracks/objects. Edit: Opens the dialog for the active effect/plug-in. This can also be achieved by right clicking the desired list entry. On/Off: Switches the respective activated effect "on" or "off". Activating or deactivating the check box preceding the corresponding effect/plug-in has the same effect.
TRACK MENU Description of the "AUX Sends" dialog You can enter the send level of each AUX bus numerically or pull the orange bar in the gray field from left to right. By default, all AUX buses are routed "post" in Samplitude. To switch them to "pre", activate the corresponding box. New AUX Bus: Clicking this button creates a new AUX bus. Reset AUX Sends: All AUX sends settings are reset. Mono Effect Processing Effects for this track will be calculated in mono.
TRACK MENU Track/Dev+: Sets the recording device for this tracks to the next, e.g. if inputs 1 + 2 of the sound card are set, it will be switched to 3 + 4. The button with the "+" sign to the right sets the recording and playback devices to the next ones simultaneously. Playback: Select your sound card device to record this track. You can also select a bus track. All Tracks: Applies the same record device chosen for this track to all tracks. Track/Dev+: Sets the playback device to the next, e.g.
TRACK MENU Project name_track name: Transfers the project name to all tracks and adds the corresponding track name to them, for example, demo_Drums.wav, demo_Bass.wav, etc. Get track name from first object name: This option gives the track name the same name as the first object in that track. Get track name from first object file: This option gives the track name the same name as the first file in that track. REC: Specify whether or not you want to record MIDI or audio here.
TRACK MENU Revolver Tracks New empty revolver track: This command creates a new revolver track. Before track objects are rearranged, select the option "New Revolver Track (copy)". The track objects will be copied as a new Revolver Track and a star appears before the track name. The original objects may now be edited or repositioned to produce a different version of the track. Delete Revolver Track: This command deletes a Revolver Track.
TRACK MENU Track properties This submenu enables access to all track properties. Mute: Mutes the active track. Shortcut: Alt + M Mute inactive: Mutes and also deactivates the track. This increases performance as the caching and FX processing of this track are not necessary) Shortcut: Ctrl + Alt + M Solo: Switches the active track to "Solo" mode. Shortcut: Alt + S Solo exclusive: This setting switches the active track to exclusive solo mode, i. e. only this active track is audible.
TRACK MENU Global: solo safe: All tracks will be switched to "Solo safe" mode. In this mode the corresponding track, if switched to solo, will be monitored together with its AUX returns. Global: solo PFL: All tracks will be switched to "Solo PFL" mode. In this mode the corresponding track, if switched to solo, will be tapped at a position before the fader and heard as a pre-fader signal. Global: solo exclusive: All tracks will be switched to "Solo exclusive" mode.
TRACK MENU Activate Previous/Next Track Use this command to activate the next (lower) or previous (upper) track in the VIP from the view of the currently activated track. With the cursor keys you can conveniently scroll up or down. Shortcut: Activate next track Alt + cursor down Activate previous track Alt + cursor up Track visualization The visualization from the menu window can be set as a master or track display.
OBJECT MENU Object Menu Unlike with the "Edit" menu all commands from this menu refer to selected objects in the virtual project. Object Editor... Use the object editor (view page 114) for object-oriented editing. This enables you to quickly and easily edit each selected object independent of any additional track settings. Shortcut: Ctrl + O MIDI Editor... This menu item opens the MIDI editor. The content of the MIDI object selected in the VIP may be displayed and edited here.
OBJECT MENU New MIDI object in the range This function creates a new MIDI object in the current track within the selected range. New Synth Object A 4-beat loop object is created at the current play cursor position. The instrument interface for the synth object that is created may be accessed by double clicking the object. The synth objects are Atmos, BeatBox 2, DrumnBass, and LiViD.
OBJECT MENU Group Created Objects: Decide here whether the duplicated objects should be assigned to a group. Time Difference: Set the distance between each object's starting point here. The default length is set to that of the object you wish to duplicate. This setting connects the objects seamlessly with one another so that a loop is created. Duration: As an alternative to the time difference, the entire length of all copies may be set here.
OBJECT MENU Split objects at Marker Positions The object is split into pieces at the marker positions that lie within the object borders. The newly created objects will be named after the previous markers. Split Objects at Track Marker Positions The object is split into pieces at the marker positions that lie within the object borders. The newly created objects will be named after the previous track markers.
OBJECT MENU After gluing, original cut may be subsequently edited the using the "Freeze object -> Edit object freeze" function. When selecting this function, a single-track VIP that contains the original objects will open as well. These may then be edited individually. Use the "Freeze object -> Unfreeze object" function at any time to restore the original state of the object. Mute Objects This mutes the selected object.
OBJECT MENU and are now visible in the arranger window of the new project. It's possible that you may want to change something else in the song retroactively. "Edit root VIP" opens the original project to make the desired changes. Once the modified project is saved, it will be rebounced and updated in the project that is used to compile the CD. Demix MIDI Objects by MIDI Channels This function will create a new track for each channel of the selected MIDI object.
OBJECT MENU "F3" and "F2" allow you to jump to the next or previous transients in the audio signal. By quantizing the VIP object position and dividing objects at beat markers/transient positions you have the option to perform highly flexible dynamic drum quantizations. All following commands refer to selected objects and can also be accessed using the Audio quantization wizard. "Specify transients" marks the peaks of the selected objects as "AQ" with special beat markers.
OBJECT MENU If you integrate a VST instrument in a newly created MIDI trigger track now you can double up or replace your existing audio track with additional sounds. Create Groove Template from Transients This function stores the transients created for the objects as a groove template in the program folder "FX preset -> Grooves". Select groove templates in the audio quantization wizard under "Quantization settings -> Grid". The length and start of groove template is always set to full beats.
OBJECT MENU When quantizing the object is hard quantized, i. e. it will be shifted to the next snap point. If you are not satisfied with the results, you can "Reset Audio Object Quantization" settings, which will set the objects back to their original position Soft AQ "Soft AQ" executes soft quantization according to the "Soft Q" parameter settings. Remove Object Gaps After object quantization has been applied, gaps between the objects can occur, which may lead to audible dropouts in overhead signals.
OBJECT MENU Quantize Settings - Default The "Standard settings" button provides the option of resetting the preset values: Q threshold: 0 Q window: 100 Swing: 50 Soft Q: 25 Offset: 0 Quantize Settings - Grid Use the "Grid" parameter to set the selection step length and thereby the values for quantization. A value of "1" provides a snap value of a single note, "2" is a half note, "4" is a quarter note, etc.
OBJECT MENU Show Grid/Time Signature Displays the desired beat signature and number of beats. The display window will change accordingly. Audio Quantization – Tutorial 1. The first step is to enable display of audio markers/transients in the display options ("Y -> Design -> Display options -> Options -> Audio markers/transients"). 2. Load a VIP with a multi-track drum recording where the drummer has played to the click, so that the VIP raster matches the drumming tempo. 3.
OBJECT MENU Detailed information about quantization is available in "MIDI editors -> Quantization". MIDI Quantize Settings... Use this command to open the dialog for quantizing MIDI events. Detailed information about quantization is available in "MIDI editors -> Quantization". Extended MIDI Quantize Start Q This command quantizes the start positions of the MIDI notes for all selected MIDI objects according to the MIDI quantization settings.
OBJECT MENU Reset MIDI Quantization Use this command to restore the original offset of start and length values of MIDI notes for all selected MIDI objects. This enables you to undo quantization at any time (even after the VIP has been saved). Detailed information about quantization is available in "MIDI editors -> Quantization". MIDI Input Q (global) Use this option to quantize the MIDI recording destructively.
OBJECT MENU Selecting Objects Select All Objects Under Cursor Selects all objects found under the play cursor or selected track ranges. Select All Objects Selects all objects in the arranger window. Shortcut: Ctrl + A Select Objects in Active Track All objects in the active track will be selected. This function may also be applied by double clicking a free area in the active track.
OBJECT MENU Switch Selection All deselected objects are selected and all selected objects are deselected. Deselect Objects Deselects all objects. Shortcut: Ctrl + Shift + A Groups Group Objects This function assigns all selected objects to a group. As soon as one object is selected, all objects in the group are automatically selected so that you can work on them collectively. Shortcut: Ctrl + G Ungroup Objects Use this function to ungroup a selection of objects.
OBJECT MENU Moving objects Move objects This opens the dialog window to enter the starting position of an object in number of samples, milliseconds, SMPTE, or beat units. Arrange Objects Use this function to edit the numerical interval between the selected object and the object in front of it on the same track. With multi object selection the entire distance between all objects on a track can be set. Object/Fade step size Select an object for simple object editing.
OBJECT MENU Left object to the left Right object to the left Left object to the right Right object to the right Move object(s) left Move object(s) right Object(s) track downwards Object(s) track upwards Object start to the left Object start to the right Object end to the left Object end to the right Move crossfade left Move crossfade right Start offset to the left Start offset to the right End offset to the left End offset to the right Increase left volume Reduce left volume Increase right volume Reduce ri
OBJECT MENU Object Begin to Play Cursor Position Use this command to move the starting point of the selected object to the play cursor position. Once you have activated a range, you can use this function to set the starting point of the selected object to the start of the range. If you selected multiple objects, all other objects are sorted relative to the new position of the first object.
OBJECT MENU Delete Hotspot This command deletes the hotspots for the selected object. Takes Take Manager... Detailed information about the take manager is available in the chapter "Managers > Take manager (view page 150)". Shortcut: Ctrl + Alt + Shift + T Take Composer This menu item opens the take composer. Detailed information about the take composer can be found in the chapter "Manager -> Take Composer (view page 152)". Object Color/Name Object Name...
OBJECT MENU "Freeze MIDI object" replaces the MIDI objects in the audio return signal of a software instrument featuring audio objects. The audio return signal must be routed to the MIDI track to do this. If more than one object is selected, the function will be applied to each individual object. The frozen objects are grouped. Fade-in, fade-out, and object volume are not calculated, since these properties are applied to the object properties of every new resulting object.
OBJECT MENU Launch Remix Agent Start the Remix Agent from the "Tools" menu or from the context menu by right clicking the object. Note: To use the Remix Agent in the wave editor, make sure that there is no tick beside "Destructive wave edit mode" ("File -> Project properties").
OBJECT MENU Step 2: Check the automatic tempo and bar recognition After opening the Remix Agent by pressing the "Continue" button, it will begin to analyze the audio material and try to determine the tempo. The object is then played with the result sounding like a metronome click and numbered green beat lines appear in the waveform display.
OBJECT MENU You can move the markers with the mouse. If you hold the "Ctrl" button simultaneously, subsequent markers are also moved. If the metronome clicks now correspond with the music, continue to the next step. Step 3: Determining the start of a bar Now set the beat type. 4/4 beat is set as default. You can correct it here if need be. The beat at the beginning of the beat should always be synchronized with the high, stressed metronome click or the red line in the waveform display.
OBJECT MENU Create remix objects Use this option to split the song into individual objects by beat, which can then be used later on in the virtual project. Note: The "Create remix objects" option can only be processed if the Remix Agent has been opened from within the virtual project. Create remix objects – audio quantization If you have selected this option, the new objects will be fit directly into the beat grid of the arrangement.
OBJECT MENU Save tempo and beat information in audio file: If you select this option, the tempo and beat information are written to the audio file. Background color: Click this button to set the background color of the remix objects you want to create. Adapt tempo This option provides you with the opportunity to adapt either the tempo of the analyzed audio material to your project or the project speed to the speed of the analyzed audio material.
OBJECT MENU Save tempo & bar info into the audio file: If this option is active, the tempo and bar information are saved in the audio file. The objects in the virtual project won't be changed. Set arrangement tempo to object tempo Just like "Create remix objects", the arrangement of the virtual project assumes the BPM value determined in the Remix Agent. If you would like to use the split song as the basis for a new composition in the remixes, then select this option.
OBJECT MENU Save tempo and bar info If this option is active, the tempo, and bar information are saved in the audio file. The objects in the virtual project won't be changed. Generate beat markers in the current range: Use this option to place markers at the beginning of the beats of a song. This corresponds to the positions of the strokes displayed in red in the waveform display.
OBJECT MENU Time Stretch/Pitch Shift Patcher - Overview Use this tool to patch wave files for use in Samplitude. In this case, additional information and settings may be written into the wave project. These enable the processing of Time Stretching and Pitch Shifting Algorithms at optimum quality. Without the patcher, you would have to search and set the settings and additional information for each wave file you wish to edit.
OBJECT MENU an existing arrangement. If the "New BPM" field in the dialog is grayed out, you can change the value using the "Time factor" controller. More Duplicate Objects (in Place) Use this function to duplicate all selected objects. The duplicated objects lie congruently over the original objects. The duplicated objects may be moved to the desired position by dragging the mouse in "Object/curve" or "Universal" mode. Duplication is also possible via drag & drop while holding down "Ctrl".
PLAYBACK MENU Playback Menu Play Once This plays the wave project or the selected range once. This function corresponds to the "Play" button in the transport control (view page 52) as well as the "Play once" button in the toolbar (view page 66). Shortcut: Spacebar Play Loop This plays the wave project or the selected range in a loop. This function corresponds to the "Play" button in the transport control (view page 52) as well as the "Play loop" button in the toolbar (view page 66).
PLAYBACK MENU From play to cut start (in point) A defined time segment from the start of the selected range is played. The duration of this segment may be set under "Options -> Program preferences -> Set pre-roll time (view page 503)". Shortcut: F6 Play to cut end (out point) A defined time time segment is played until the end of the selected range. The duration of this segment may be set under "Options -> Program preferences -> Set pre-roll time (view page 503)".
PLAYBACK MENU Stop and Go to Current Position This option cancels playback; the play cursor will remain at the current position. Shortcut: Number block "0" or "," Playback Mode Loop Mode This mode plays the selected ranges in a loop. This corresponds to switching on the "Loop" button in the transport control. Change Play Direction This command changes the playback direction, even during playback.
PLAYBACK MENU Once play is activated, playback will begin from the next CD track marker and end at the next one after that, which in turn is the starting put for the next playback range. Note: For smooth Cue mode use deactivate the Loop mode. In cue mode, the recording mode in the transport control changes to Record without playback (band control) (view page 581). The original sound track is highlighted with a special background color.
PLAYBACK MENU Playback parameters Choose this option to open the play parameter window. Shortcut: P Check the "Stop at current position" option if you wish the play cursor to remain at the same position after stopping playback. If this option is not active, the play cursor will jump to the original position or back to the start of the range when playback is stopped.
PLAYBACK MENU Detailed information about cue mode is available via the menu item "Play / Rec -> Playback mode -> Cue mode (view page 576)". With Autoscroll the graphical display runs the entire time before the play cursor reaches the visible section. This provides a constant overview. Switch to autoscroll mode by checking "Active". "Active for zoom < 1 s" causes autoscrolling to begin at very high zoom levels of less a second Choose between "Page" and "Soft" autoscroll modes.
PLAYBACK MENU Scrubbing speed: This specifies the factor of the original speed applies to the scrubbing speed. The range of values stretches from 0.01 to 10.0, i.e. 1/100 of the original speed up to ten times the regular speed. Scrubbing only on active track (1 track): If this check box is active, Samplitude will only scrub the active track. Global play device: Specifies the sound card driver for playback.
PLAYBACK MENU Record without Playback If you begin recording in "Record without playback" mode, then recording will start at the play cursor position when the record button is pressed. Initially, only the track's input signal will be audible at the point where you are currently working in "Record" mode. The play cursor will not run in the timeline. If playback is now started from the position of the play cursor, all playback tracks will be audible from this position.
PLAYBACK MENU If the recording option "Pre-activate all tracks for track-punch recording" is active ("System options -> Recording"), then audio tracks that were not active when recording was started may be added to a recording, or tracks may be removed from the recording. Click the "Record" button for the desired track. Punching an individual track requires that the track has been assigned to a sound card input that has not already been used for recording.
PLAYBACK MENU If you select "Mono", the channel input will be switched to mono, and the signal will be picked up only on one channel. If you select "Mono (Mix)", the channel input will be switched to mono, and the signal will be picked up on two channels, and then mixed together. Preload: The recording is prepared and all buffers will be loaded. Thereafter, the message "Data loaded. Waiting to start..." appears. As soon as you press "OK", the recording starts without any delay.
PLAYBACK MENU Note: If you want to record and play over multiple sound cards, small differences may result during playback of longer passages. This is as a result of sample rates of cards which are not 100% synchronous. Ideally you should use the same card for recording as you do for playback if possible. If your card creates a delay between the start of recording and the start of playback, you can balance it out in the "Record Offset" field.
PLAYBACK MENU Stop: Ends a running recording process. Recording pause: Use this button to interrupt the recording process. The play cursor continues to run. Pressing "Recording pause" again restarts the recording from wherever you want it to continue. Take +: Each object or take number (Take 1, Take 2...) is given a marker so that it can be found again quickly. The take manager (view page 150) is ideal for managing the individual takes.
PLAYBACK MENU In "Page" mode, the play cursor moves across the screen to the end of the visible section; at that point, the window view shifts to the start of the following section. In "Scroll" mode, the play cursor jumps to the middle of the section and remains there as the project moves through it.
PLAYBACK MENU Markers You will find a number of functions for managing markers. The function keys and numbers can be used to easily save, name, and reopen marker positions. Detailed information on working on ranges and markers can be found in the "Functions in the project window" chapter. Save marker With the option "Marker with name..." you can specify further markers to which you can assign a name of your choice. In the "Marker with names and numbering...
PLAYBACK MENU Min. time (ms): Set the minimum time threshold that must be exceeded in order to set a marker. Threshold (dB): Specify the threshold in decibels here. Note: When working in destructive wave editing mode, the height of the range in the wave project is set to the level of the threshold to make it easier to see. Start number: Enter the marker number that is counted upwards to "Marker after silence" here.
PLAYBACK MENU Set New Audio Marker This command sets an audio marker at the current play cursor position of a selected audio object. If a marker was previously set at this position, then its name will be applied as an audio marker. Copy Audio Marker to VIP Marker This copies all available audio markers of the selected object to the marker bar in the arranger window. Application of the VIP markers only occurs within the object boundaries.
PLAYBACK MENU The position of the Audio marker selected in the Audio marker manager can be changed in the editing field. If you click there a double ended arrow will appear at the selected point, with this you can change the corresponding value. The value content can be chosen in the field to the right. Note: All time information for the audio marker relates to time positions in the audio material, and not to positions in the virtual project.
PLAYBACK MENU Delete Additional Punch Markers This command deletes additional punch markers from the VIP. Set new Tempo marker Detailed information on placing Tempo markers can be found in the chapter Edit > Tempo > Tempo Map Dialog". (view page 301) Set New Time Signature marker Detailed information on placing time signature markers can be found in the chapter Edit > Tempo > Tempo Map Dialog".
PLAYBACK MENU Auto JamSession You can now jam quickly and creatively with your virtual band thanks to Auto Jam Session's practical loop automation function. Record your instrument on separate tracks and develop the song structure systematically. The recorded tracks are then put straight into an endless loop after the recording. Auto JamSession - access Open an Auto Jam Session via "Playback -> Auto JamSession..." or via the "Record" mode box in the transport window.
PLAYBACK MENU Template in instrument mode (mute): The accompaniments consist of multiple instruments that can be muted using buttons 1-8 (or the corresponding number keys on the keyboard). Variations mode (solo): These accompaniments contain multiple variations of the same instrument that you can switch back and forth during playback via buttons 1-8. Reset: This function allows you to switch between various "Reset" functions.
PLAYBACK MENU Half speed: Press this button to halve the playback speed. Double speed: Press this button to double the playback speed. For example, "Half speed" allows you to play nearly impossible guitar solos. Switch the existing backing arrangement to "Half speed", record your guitar solo, and then click "Double speed" again. Your accompaniment plays in original speed again and your solo now sounds twice as fast and an octave higher. Reverse: This effect plays the whole arrangement backwards.
PLAYBACK MENU synchronous, but do not need to have the same starting point. This is the preset quantization mode. Start + length of the next whole loop: Recording only starts after the next loop border. The length is quantized like in "Length of the next whole loop". The starting points of the loops are all at the same positions. Length to previous whole loop: The loop end is shortened to the last exceeded loop border.
PLAYBACK MENU Retrospective Recording (MIDI Pre-Recording) Samplitude creates a MIDI object in the recording-ready MIDI track that may be adjusted in terms of buffer length via "System options -> MIDI". Retrospective recording intermittently saves MIDI events and audio signals in an adjustable memory buffer in RAM. This takes place while running, even if a recording is not being made via the record button.
PLAYBACK MENU Replace In this mode, MIDI files of the existing object will be replaced with newly imported ones. If you record over several objects, these are combined into a single new object. MIDI Panic – All Notes Off This command sends a note off command to all MIDI devices that are activated in the MIDI options for all 128 notes on all 16 channels. The sustain (Controller 64) is also shut off, and the pitch wheel and modulation are reset to 0.
AUTOMATION MENU Automation Menu No effect (Track) If you select this display option the track automations are deactivated. Edit selected curve Create The curve generator (view page 335) creates a beat-based volume curve and pulses according to eighth, quarter, half, or full notes. You can enter a minimum and maximum value or define delay values as an option for the beat-based envelope curve calculation. As an alternative, you can also let the curve generator write an envelope curve scan.
AUTOMATION MENU MIDI Controller Automation This opens the "MIDI controller/automation curve settings" dialog. Detailed information about MIDI controllers is available in the chapter "MIDI controller automation (view page 338)". Shortcut: Ctrl + Alt + A Hide Automation Use this option to deactivate the display of automation curves for all tracks. Show Track Automation Select this display option to display only the track automation.
EFFECTS MENU Effects Menu This menu entry provides fast access to the relevant real-time effects at object level. Correspondingly, menu entries for all object effects are provided here. Note: All effects opened using this menu are calculated destructively, provided the option "Apply effects offline" is active. The option to work with a copy is available in order to preserve the original audio material. The "Create copy" option is already selected in the corresponding dialog.
EFFECTS MENU Advanced options for offline effect calculation These settings may be opened in the corresponding effects dialog by clicking the "Advanced options" button. Alternatively, this dialog may be accessed via "Options -> Program preferences -> Destructive effect calculation...". In this dialog, choose to write a copy with offline effects from the many options.
EFFECTS MENU untouched. This also makes it possible to execute the effect calculation in the 32-bit float format, to save it, and thereby keeping the full quality of the effect. The file is not overwritten with every new effect calculation, but rather the new effect is simply added to the effect file. Generate a new FX file for each effect: All offline effects are saved in separate files with sequential numbers.
EFFECTS MENU Restoration: De-clipper, de-clicker/de-crackler (optional), de-hisser, de-noiser, get noise sample, remove DC offset (offline), spectral cleaning (offline) Stereo/phase: Switch channels, multiband stereo enhancer, invert phase (both channels, left channel, right channel) Modulation/Special: Convolution, vocoder, Corvex, reverse Sample manipulation: Change sample rate (offline), sample number/2 (offline), sample number *2 (offline), reverse, form loop (offline) MAGIX Plug-ins: AM-Munition (Samp
EFFECTS MENU Shortcut: Shift + N Note: If you experience very slight clipping during recording and then proceed to normalize the material, you won't achieve the same quality as when you produce an overmodulated recording! For example, if you only modulate half of the material, then your recording will have a quality of 15-bit samples – normalizing to 100% will not change anything.
EFFECTS MENU Uniform normalization: The maximum level is detected from all objects and each object is normalized according to that value. This is active by default. Quick Access Set parameters: Use this button to make the settings of the normalization function accessible via quick access. Get parameters: Use this button to get the current quick access parameters in the dialog.
EFFECTS MENU Set Zero The level in the selected range is set to zero. This allows unwanted parts within a sample to be removed. Dynamics Effects What Compressors are Available in Samplitude? There are four different modules for dynamic editing available in Samplitude: 1. essentialFX Compressor (view page 690): A simple, efficient tool for reducing dynamics with soft characteristics and adaptive control processing. The "essentialFX Compressor" is a very musical compressor. 2.
EFFECTS MENU Experiment with "AM-Track", "AM-Pulse", "AM-Phibia", and "AM-Munition" to add characteristic pre-amps or tube sounds to your pieces. The mixer's master module features "Multiband dynamics" to give the entire mix its final balance. Since increasing the volume using a multiband compressor may produce clipping, it's necessary to have a limiter, which then approximates all clipping samples at the limiter threshold.
EFFECTS MENU Limiter 100%: Performs the same editing as the limiter; however, the level is immediately raised to 0 dB, which corresponds with a subsequent normalization. Expander: The dynamics of a piece are increased, loud sequences remain quiet, quiet sequences become even quieter. Dynamics expansion is often used for recording speech featuring a high noise level. The expansion causes the level of the speech to be raised while the noise is suppressed.
EFFECTS MENU Advanced Dynamics Advanced dynamics – general controls and presets Load, save, delete presets: Save, load, or delete settings here. The default file ends with *.dy2. In addition, all dynamics presets (*.dyn) can be loaded. The parameters are converted to those available in the "Advanced dynamics" module. If saved again, the preset will be saved with the *.dy2 extension to make sure the settings are stored.
EFFECTS MENU To position the point directly in the reference line field, right click. A dialog appears to read and enter the input and output values. If you switch on the "Hard" parameter in the limiter, a blue field entitled "Limited zone" will appear for threshold values below 0 dB. This field shows that the level of the signal never extends into this limited zone. In order to hide a handle, move the applicable threshold slider to 0 dB.
EFFECTS MENU Advanced Dynamics - Dynamic parameter The "Reaction" function works much in the same way as the Compressor does to the source material. PEAK: This mode uses the signal's peaks as a basis for calculation. The dynamics module reacts to level peaks quickly and efficiently. RMS (Root Mean Square): This mode is involves the signal's average volume, which corresponds with the dynamic behavior of analog dynamics modules. It sounds relatively round and balanced, less focused.
EFFECTS MENU added. "Pre-fader" is set to catch the side chain signal. This means that the sidechain remains independent of the fader position of the sending channel. Right clicking on the AUX send button selects this as "Side chain send". Thereby you can use further track as the source for the sidechain signal at a later date. Sidechain filter: The sidechain filter can be filtered by a parametric equalizer (view page 621).
EFFECTS MENU Multiband Dynamics The "Multiband dynamics" section lets you edit the dynamics with up to four independent frequency bands. The entire signal is split into individual frequency bands in this case. The dynamics are then edited separately for each band. The combination of the individual bands is 100% phase-neutral, and thanks to the FIR Complement Filter, technique no discoloration of the frequency response occurs. In other words: If there is no dynamic editing in the individual bands, i.e.
EFFECTS MENU Reference line Band: Select a band for dynamic editing here. The reference line of each selected band is displayed in white, while the other bands are displayed as lines in their corresponding colors. Copy to all bands: After pressing this button the parameters of the selected band, i.e. the parameter values that appear on the screen, are applied to all bands. If you also have "Link bands" selected, the values for all bands remain coupled to one another.
EFFECTS MENU OK: The algorithm is applied to the selected range of the sample or the selected object. The parameters of the dialog window are applied when used in the master section of the mixer. Cancel: Click on this button to close the dialog window without calculating the effect. When used in the master section of the mixer, the parameters of the dialog window are not applied.
EFFECTS MENU Expander: The dynamics of a frequency band are increased, loud sequences remain quiet, quiet sequences become even quieter. Dynamics expansion is often used for recording speech featuring a high noise level. The expansion causes the level of the speech to be raised while the noise is suppressed. Note that a powerful De-noising algorithm is also provided for noise suppression. Gate: This function dampens or sets very quiet passages below the threshold level to zero.
EFFECTS MENU 2. 3. 4. Dampening in the stop band increases (setting low: approx. 25 - 35 dB, normal: approx. 35 - 45 dB, high approx. 55 - 75 dB). The ripple of the frequency range of the bands decreases. However, this is not a problem as the ripple of the individual filter bands compensate each other when put together thanks to the complementary filter technology. In any case, the output signal does not contain ripples. The latency caused by the effect increases.
EFFECTS MENU 1. Turn off "Link bands". 2. Activate "Solo" mode for the band that contains the critical frequency range. 3. Change the separation frequencies for the band so that they can effectively filter out the critical area. Now the dynamic editing can begin. First, select a suitable mode. 4. "Limiter" mode or "Compressor" mode are suitable for the dynamic limiting of critical frequencies, i.e. for sibilant sounds. 5. Use the "Bypass dyn." checkbox to compare the processed and unprocessed bands.
EFFECTS MENU A typical approach might look like this: First, switch on the link option. Now increase the input amplitude until the audio changes become unacceptable. Reduce the level again slightly. Distortions may be minimized by increasing the release time. In any case, the compression effect and the increase in loudness will therefore be lower. Maybe switch on the bypass. The link option keeps the loudness constant, allowing changes to be compared better.
EFFECTS MENU Note: If the link option is active, then "Gain-in" may be increased, e.g. without increasing the output volume. This makes it easier to detect distortions resulting from a high "Gain-in" value. Release: Set the time frame for the complete dissipation of the effect on the signal in seconds. Mode: The setting of the mode influences the effect's control behavior: Balanced: Lowest level of distortion with transparent sound, robust to use. Fast: Accesses slightly faster than "Balanced".
EFFECTS MENU Frequency/Filters Parametric EQ This dialog features a parametric 4-band equalizer. The parametric equalizer allows you to activate filters for four freely selectable frequency bands to adapt the sound of a sample/object more individually. Broadband elevations in high and bass values as well as narrowband corrections to the frequency response can be carried out here.
EFFECTS MENU Note: The shelving filter starts signal manipulation at the cutoff frequency in order to apply the effect until the end of the audible range. This includes high and low-pass filters. A high-pass filter cuts the signal sharply after the defined cutoff frequency. A low-pass filter cuts the signal sharply above the defined cutoff frequency. The peak filter stretches the around the defined cutoff frequency. This includes "normal" parametric EQ, bandpass filters, and notch filters.
EFFECTS MENU Setup A, B, C: Switch between three different filter setups using the mouse to quickly compare two different settings, even during previewing. Reset: Sets the effect to its original initialization state. Bypass: The algorithm is removed from the signal route. This allows the unedited signal to be compared to the result of the algorithm. Play/stop: This button starts/stops the real-time preview function. Use it to check the corresponding filter setting.
EFFECTS MENU The display of the filter graphic may be adjusted by accessing the "Scale options" and by using the vertical and horizontal scroll bars. Hide real-time curves: This option hides the "Original" and "Edited" real-time curves. Real-time offset: Adjust the offset value in dB for the real-time curves for optimal display. Click in the display window after every change to the values to make the adjustment visible. In/Out displays: These meters show the input and output displays in dB.
EFFECTS MENU Freq. (frequency): The frequency controllers set the cut-off frequency of the individual filters between 10 Hz and 24 kHz. You can freely choose the frequency enables multiple filters to be set to the same frequency giving a greater effect. Q (bandwidth): Set the bandwidth of the individual filters between 0.10 (very wide bandwidth) and 10 (extremely narrow bandwidth). Type: Set the filter type here.
EFFECTS MENU FFT Filter/Sound Cloner The FFT filter (for real time use in the object editor, in the track or master section) allows you to precisely filter linear signals. The FFT filter for real-time application is a "minor" option with a huge number of possible settings, analyses, and functional modes for destructive editing of audio material. Note:All effects opened using this menu are calculated destructively, provided that, additionally, the option "Process Effects Offline" is active.
EFFECTS MENU Bend tool for curving lines: Click with this tool above or below the curve to bend the curve/frequency area. The further away from the line you click with the bend tool, the sharper the curve will be. This effect may be enhanced by clicking by holding down "Ctrl". Navigation tool: Use the navigation tool to move the visible selection vertically and horizontally while zoomed in. Zoom tool: Click with the left mouse button to zoom into the display; zoom out with the right mouse button.
EFFECTS MENU Frequency axes property: The frequency can be output as a linear curve or as a logarithmic curve. If the logarithmic display is selected, then the display's x-axis can be output either according to frequency or according to pitch. Value display: Here you can stretch the filter curve on the y-axis, either 5:1, 10:1 or 20:1. For the dB values choose either the linear or the logarithmic display. The range of values may be defined freely.
EFFECTS MENU When loading the sound clone, it's important to place the play cursor at a location in the object where all of the instruments are playing; the sound cloner uses the audio material at the play cursor as the basis for calculation of the filter settings. The selected filter curve will not be transferred directly into the FFT filter; initially, a spectral analysis of the target audio material is executed at the play cursor before the selected object's filter curve is adjusted.
EFFECTS MENU Dynamic filtering: Transition between two filter curves for filter switch effects, hiding frequency variables, and much more. Transmit frequency ranges: For example, from other mixes or rooms or loudspeakers to your own mix. This option can be very helpful if you want to improve the sound of your samples or simulate individual monitoring conditions. Correction of the frequency range from recording and playback areas, loudspeakers, amplifiers, etc.
EFFECTS MENU Step 2: Open the FFT Analysis Filter again. A blue curve depicting the current frequency response of your sample/object is now visible. The red curve is the frequency response filter. By default it is set to 0 dB for all frequencies. Under given circumstances, according to the length of the selected range, only a portion of the range is analyzed. To examine the entire range or object, click on the "Analyze all" button to the top right of the dialog window.
EFFECTS MENU There are three different methods for fading available in the "Expert" dialog. 4. Filtering a sample/object with the frequency response of another sample/object The procedure for this task can be divided into two basic steps: "learn process" and the filtering itself. The learning process: 1. 2. 3. 4. 5. 6. Mark a range of the sample/object of which you would like to use the filter curve for a second sample. Open the FFT Analysis Filter again. Press the "Analyze all" button.
EFFECTS MENU 3. 4. 5. 6. Press the "Analyze all" button. Press the button "Analysis -> Filter". The filter curve now corresponds to the frequency response of the sample/object. Individual peaks indicate that the frequency response of individual tones has an influence on the result – in this case you should use a greater range for the analysis or smooth out the peaks with the freehand draw function. Save the result as a preset. Close the dialog by clicking on "Cancel".
EFFECTS MENU The smallest and largest values may be set in the "Max. range" and "Min. range" in the "Expert" dialog. The precise values for damping/dB increase are shown in the axis labeling to the right. The volume fader moves the filter curve up or down and can be used to control the entire volume. The bottom left features four buttons for the zoom function. "+" changes to the next zoom level, "-" changes back a level. There are 10 zoom levels available in total.
EFFECTS MENU Prevent clipping: If you edit the frequency response and the sample is overmodulated, the filter curve will be corrected correspondingly after pressing this button. This function is independent of volume faders. Reset: Click on this button to reset all curves to their default (0 dB) position. Filter mode Static: In this mode, the edited filter curve is applied to the range of the sample in the wave project.
EFFECTS MENU border one another. At very high overlapping levels, it's much easier to capture very short sounds, e.g. individual 1/32 notes. If you have selected "High", the calculation time for the analysis will double, which will become most noticeable when using the "Analyze all" function. Analysis precision: In the "Noise" setting, analysis results for individual harmonics are slightly distorted and the peaks widen.
EFFECTS MENU Display Apply additional settings for displaying the curve here. Grid: Switches the grid on and off. Number of curves: Set the number of curves to be displayed here. Filter transition There are three different modes available for dynamic filtering: Direct: A simple fade is made directly between two curves. Move/direct: In this case, both curves are faded, but the start curve is to the side, i.e. it is moved onto the frequency axis.
EFFECTS MENU Notes: If you have drawn very detailed filter curves, it is imperative that you save the curve parameters. When switching modes or parameters, the curves will appear to be closely matched but will not maintain the same details. Make sure that when previewing in realtime at a high rate that the value of the program buffer in the ("Extended Buffer Settings" (view page 500)) is at least just as high, or even better, a bit higher than the set rate.
EFFECTS MENU In the "Fade start" or "Fade end" filter mode, fading is not applied uniformly. In this case, select the highest setting for the filter parameter precision in the "Expert" dialog. In "Direct" fade mode, the problem is reduced when the rate is reduced. Experiment in the other blend modes with this parameter to find a suitable setting.
EFFECTS MENU Room Simulator This function allows you to simulate the reverb qualities of various rooms. The impulse response or reverb time of a room is calculated with a sample. A room impulse response is the reverb of a explosive noise, for example like that of a pistol. It contains all the necessary information to simulate room reverb accurately. You can manipulate the impulse response using the dialog parameters.
EFFECTS MENU Room Simulator saving/loading/deleting presets Presets can be loaded, saved, or deleted. The presets that are located in the "FX-preset" subdirectory are automatically loaded and listed in the dropdown menu, where they can be selected. The "Load" function loads presets from directories besides "RoomSim" into the Room Simulator. Impulse response File: Select an impulse response here.
EFFECTS MENU Freely definable envelope curve The amplitude progression of the impulse response can be manipulated with the yellow freely-definable envelope curve. Typically, it is used to dampen or delete early reverberations of the impulse response. Using zoom options will aid greatly in this task. Reset freehand envelope: Reinstates the curve's original status. Pre-delay The "Pre-delay" function delays the entire impulse response by a time interval variable between 1 and 100 ms.
EFFECTS MENU Parameters for editing reverb frequencies Lows: This parameter adjusts the low frequency component of the reverb. Highs: This parameter adjusts the high frequency component of the reverb. FFT EQ: The reverb component can be edited with an additional FFT filter. The graphic display includes a real-time spectrum of the reverb component in the FFT filter to provide visual control of the frequency characteristics of the room in which the impulse response was recorded.
EFFECTS MENU The value "optimal latency" adjusts the internal block length to keep the latency as low as possible without influencing the performance too much. The value "optimal latency" adjusts the internal block length to keep the performance as high as possible without raising the latency too much. Note: Setting a value smaller than the set buffer size is not useful. If the value corresponds to the ASIO buffer size, the Room Simulator processing is latency-free (only with "higher quality").
EFFECTS MENU Length of the impulse response If the length of the sample used as an impulse response exceeds a power-of-two, the CPU load doubles. The performance required subsequently doubles whenever the following impulse response lengths are exceeded: 11.88 5.944 2.97 1.48 0.74 0.37 etc.
EFFECTS MENU Remove DC offset with the same function; "Remove DC offset (view page 672)" Heavy hard disk activity or an error message concerning insufficient memory was received. This algorithm requires a lot of memory, especially for long impulse response patterns. All background processes should be terminated and all RAM wave projects that are not needed should be closed. CPU power usage is too high. Check the "Internal block length" parameter's setting in the parameter's description.
EFFECTS MENU Time/Pitch Resampling / Time Stretching / Pitch Shifting All algorithms in this dialog use the "time factor" and "pitch (semitones)" as input parameters. Open the "Time factor calculation" section to determine the required time factor from the original length and original tempo as well as the desired new length/desired new tempo. Tip: To change an audio file's sample rate, e.g. from 48 kHz to 44.1 kHz, use the function "Effects -> Sample manipulation -> Adjust sample rate (view page 682)".
EFFECTS MENU On extreme settings, aliasing effects may occur. An additional anti-aliasing filter may help in this case. This filter is also available for all other algorithms that work internally with resampling. Beat marker stretching (smoothed) Beat marker stretching (smoothed) represents the standard methods for high quality Time Stretching and Pitch Shifting. This algorithm works basically the same way as "beat marker stretching".
EFFECTS MENU The algorithm "Beat marker slicing" is especially useful for: Samples that are able to be split into individual notes or beats Drum loops, provided the beats do not overlap and there is not much reverb The algorithm "Beat marker slicing" is less useful for: Signals that cannot feature beat markers. Silence will be the result. The CPU load is very light.
EFFECTS MENU Attack recognition threshold Use this fader to set a threshold for beat recognition. When the wave project displayed, you can follow the placement of beats visually. This also works with VIP objects if the wave project is open at the same time. Reset Beat-Marker: All Beat markers are removed. Beat markers can be corrected manually. Beat markers can be re-positioned, copied, deleted etc. by activating the applicable marker commands.
EFFECTS MENU Universal HQ This algorithm provides a high-quality Time Stretching/Pitch Shifting method and offers good audio quality with almost any audio material. Especially when it comes to complex audio recordings like orchestral recordings, this algorithm delivers high-quality results. Stereo properties also remain intact. The CPU load can become very high when realtime effects are applied to many simultaneously playing objects.
EFFECTS MENU Computer-heavy pop and techno music, due to the discoloration of noisy sections. How high is the CPU usage? How much memory is required? Multiple CPU cores are used. On faster systems (Intel i7 - Processor 3 GHz) the algorithm calculates stereo samples in near realtime at a sample rate of 44.1. Memory requirement is dependent on the material and is somewhere in the region of 200 MB.
EFFECTS MENU Elastic Audio – "Relative" mode Edit the pitch curve (automation of the pitch's temporal path) as a relative pitch deviation here. This corresponds roughly with the pitch bend controller for MIDI data. Editing can be done with a free-hand curve, quantized "step" curves, or by using the Curve Bend tool. The Curve Smooth tool enables equalization of the automation curve. This smoothes pitch curve value changes that are too steep during playback.
EFFECTS MENU Start the analysis function with the "Pitch Detection" button. The analysis may take longer with larger objects. After analysis, the VIP objects are divided into individual slice objects according to the recognized pitches. The medium pitches of a slice object determine its position in the graphic, independent of the set progression of the pitch curve inside the slice object. Select all of the slices first. Click an empty area in Elastic Audio Editor to deselect all of the slices.
EFFECTS MENU Elastic Audio: Description of all control elements The control elements available in each mode are available for activation/deactivation in the lower section of Elastic Audio Editor's "View" menu. View Waveform: This turns the waveform display on and off. Zoom buttons: Save the zoom depth and position for the current window here. Buttons 14 or numbers 4, 5, and 6 of the number block are available for this purpose. These also access the zoom buttons 1, 2, and 3 respectively.
EFFECTS MENU Refresh: This refreshes the graphical display of the material. Any resulting changes to the length are adjusted as such. In case synchronization of the arranger and Elastic Audio Editor is active (Elastic Audio Editor -> Display -> Horizontal -> Synch. VIP editor), then the effects will be displayed in the VIP within the arranger window. Edit VIP object Track selection: If objects from multiple tracks have been loaded into Elastic Audio Editor, a track may be selected here.
EFFECTS MENU Scale: Use this option to select the type of scale, i.e. the sound make-up/mode. Choose from "major", "minor", "harmonic minor", "pentatonic", and "chromatic". Pitch contour: Tune!: This button quantizes ("levels out") the pitch contour of the selected slices. Contour smooth: Set the strength of the quantization (lower values quantize hard). This function removes repeated small pitch alternations in natural sound sources, e.g. vibrato ("Cher" effect).
EFFECTS MENU should only open the pitch recognition before executing pitch corrections or other editing processes. Playback control Reset: All pitch curves for the entire material loaded into the Elastic Audio Editor are reset. Bypass: Plays the arrangement without editing. Stop/play: Stops/starts the playback of the arrangement. Play solo: Only activated objects in the editor are played. Toolbar Several tools are available for processing the slices and pitch envelope.
EFFECTS MENU individual slices. To recompile slice objects, use the pencil tool to drag along the slice while holding down the "Ctrl" key. Eraser: The orange curves are set back to their initial values, i.e. the pitch envelope corresponds to its original curve again. Navigation tool: Use the navigation tool to move the visible selection vertically and horizontally. Zoom tool: Click with the left mouse button to zoom into the display; zoom out with the right mouse button.
EFFECTS MENU The functions contained in "Edit VIP object" may be used on selected VIP objects. This involves selecting an algorithm and the smoothing magnitude for the pitch or automation curves. Pressing "Reset" undoes corrections made to the selected slices. Elastic Audio: Overview of keyboard commands and configuration of the mouse wheel.
EFFECTS MENU Tone pitch automation including changes to the length (resampling) Load objects into "Elastic Audio Editor -> Relative mode". Select the "Resampling" algorithm. Select the drawing tool. Draw the orange automation curve with the drawing tool. Pitch automation without change in length Proceed as previously explained in the resampling section. A pitch algorithm may also be selected (standard, smooth, monophonic voice, beat marker slicing).
EFFECTS MENU Creating second voices or harmonizing effect Create a duplicate of the object on the track below it in the arranger Selection of both objects in the VIP Open Elastic Audio Editor Select the track via "Edit VIP object -> Select track" Edit each track individually. Do not use the resampling algorithm to avoid different tempos in the voices. Alternatively, additional voices may be created easily with the "Harmonizer" in "Direct" mode.
EFFECTS MENU Presets: Here predefined amplifier simulations can be selected. Amp: Here you can select from a range of amplifiers whose sound can be simulated. Speakers: Here you can select from a range of speakers whose sound can be simulated. Distortion (gain): This regulates the distortion amplification. Speaker component: Here you can regulate the speaker component present in the complete signal. Equalizer: A 3-band equalizer for setting the bass, mids and highs.
EFFECTS MENU Furthermore, the effect has a modulation section with which you can control individual parameters using an oscillator (LFO) or the input signal. We have designed a range of "typical" presets to demonstrate the time travel abilities of the BitMachine. These can be opened at the top right of the interface The following section describes the details of BitMachine: "Reduction" section Bits This dial controls the resolution of the audio material.
EFFECTS MENU Both of the individual filters of the connections mentioned above have the ability to overmodulate themselves internally. With the "Drive“ dial, you can regulate the amount of overmodulation. The more you turn this dial up, the more the signal is overmodulated. In this case, the parameters of the internal workings of the filter interact with one another. Increasing drive weakens the resonance, but, at the same time, the signal gets more volume, more bass and becomes acoustically fuller.
EFFECTS MENU In the modulation section you’ll find a fourth button, the audio input signal. If this mode is active, then the signal itself can be called upon to extract “modulation tension”; a so-called "envelope follower" continuously scans the volume of the input signal. Note: The BitMachine doesn’t recognize the type of audio signal automatically. For this reason, you should set the input sensitivity roughly with the "gain“ dial.
EFFECTS MENU DeClipper SE (The full version is available as an option of part of the Cleaning/Restoration Suite) The De-clipper is a tool for removing overmodulation and distortions. Overmodulated passages are recalculated, or interpolated, based on the material immediately surrounding them. The DeClipping algorithm is suitable for material with clearly audible overmodulation, e. g. distorted piano or vocals. DeClipper SE – Presets Load, save, delete presets: Here you can save, load, or delete settings.
EFFECTS MENU DeClicker/DeCrackler SE (The full version is available as an option of part of the Cleaning/Restoration Suite) The DeClicker removes crackling and clicking noises, which are typical on scratched records, it was also developed especially for louder individual clicking sounds on older vinyls. DeClicker/DeCrackler SE - Presets Load, save, delete presets: Here you can save, load, or delete settings. The default file extension is *.dck.
EFFECTS MENU clicks. If the parameters are too high, parts of the music or speech signal will also be filtered, which will lead to music discoloration. DeHisser SE (The full version is available as an option of part of the Cleaning/Restoration Suite) This command opens the DeHisser SE, which helps to remove noise. The DeHisser SE eliminates regular, low-level "white" noise, typically produced by recordings, microphones, pre-amplifiers or transformers.
EFFECTS MENU Limit yourself to one low noise damping (-10, -15 dB) to avoid side effects like artifacts. Inverse:If this switch is activated, you will hear only the part of the signal that is removed by the algorithm. By optimally setting the "noise level" parameters, you should only hear the noise. DeNoiser SE With the DeNoiser SE you can remove noises without discoloring the source material too much. To do this, the algorithm requires a noise sample.
EFFECTS MENU Inverse: If this switch is activated, you will hear only the part of the signal that is removed by the algorithm. If the parameter is optimally tuned you will only hear all the noise and only a small portion of the used signal Noise sample file: In the selection list, you can select a group of noise tests. The noise samples displayed in the list can be found in the "fx-preset" folder. Wizard: Here you can open the "Noise print assistant" dialog to help you extract a noise sample.
EFFECTS MENU Target length: Set an explicit length for the noise sample. 2. Extract noise print from the audio material Extraction at beginning of range or play cursor: The noise sample will be extracted from the range available, or otherwise the start position will be determined by the play cursor. Extraction at the position of the lowest level: This search function analyzes the audio object for soft areas. Set the search area above the search options and click the "Start search" button.
EFFECTS MENU Stereo/Phase Switch Channels Use this function to swap the right and left channel of stereo samples in order to correct accidentally swapped channels when recording. This function may be reversed, e.g. if you don't re-select the range, opening it again will restore the original material. Multiband stereo enhancer (Samplitude Pro) The multiband stereo enhancer performs detailed modifications and corrections to the stereo image in three independent frequency bands.
EFFECTS MENU The graphic shows you the frequency response curves of the individual curves. The left axis labeling shows the damping in -dB, while the upper axis labeling shows the frequencies in kHz. The parameters for stereo manipulation and the A/B/C buttons for quick switching between the three different settings are located to the right of this. General controls Preset: Select from a number of presets here. Save, load, delete: Save, load, and delete the various settings here.
EFFECTS MENU OK: The algorithm is applied to the selected range of the sample or the selected object. When using this in the master area of the mixer, the parameters of the dialog window are applied to the entire mix. Cancel: Click this button to close the dialog window without applying the effect. When using this in the master area of the mixer, the parameters of the dialog window will not be applied to the mix. Help: Opens the "Help" file.
EFFECTS MENU The multiband stereo enhancer in the master area of the mixer: Access the stereo enhancer in the master area of the mixer by pressing the "StE" button, which is located above the master faders. Right click this button to open the stereo enhancer dialog window. The knob next to this is connected to the base width controller for the mid band. If "Multiband" mode is not active in the dialog, the changes affect the entire signal. The knob functions as a standard base width fader.
EFFECTS MENU 1. Activate "Solo" mode. 2. Open the phase correlator during real-time preview. 3. The base width may be estimated according to the amplitude of the display. The horizontal amplitude increases in relation to the vertical amplitude as the base width increases. The panorama setting may be verified by the gradient of the display. The display tilts to the side of the stereo channel with the higher level. 4. If necessary, correct each channel with the panorama and base width controllers.
EFFECTS MENU Modulation/Special Convolution (Offline) This menu item is hidden by default. To display it again, activate it in the menu settings via "File -> Program Preferences > Edit Keyboard Shortcuts and Menu (view page 488)". Using the convolution function you can mix a sample/object with any other sample. This means that the original sample will be filtered with the convolution sample: common overtones will be amplified, anything else will be softened.
EFFECTS MENU The output signal is overmodulated Reduce the value of the "Results (dB)" parameter. The resulting signal contains a strong DC offset If possible, the convolution sample used should not contain any DC offset. If this is present, remove it via the corresponding "Remove DC offset (view page 672)" function. Heavy hard disk activity or an error message concerning insufficient memory is produced The algorithm requires ample memory, especially in case of long impulse response patterns.
EFFECTS MENU Filter curves The yellow line corresponds to the frequency progression of the modulator, and the light blue line represents the carrier signal. The red line is a freely-adjustable FFT filter. The frequency progression may be drawn to optimize the vocoder results. The dark blue line is the resulting filter curve of the vocoder. Reset: This resets the red filter curve to its initial state. Carrier signal Sample selection list: The desired carrier samples may be selected here.
EFFECTS MENU Bypass: The "Bypass" button plays the original signal. Dynamic filter Response time (release): Affects the speed of the dynamic filter adjustment to the modulator spectrum. As the release value increases, the Vocoder follows the modulator slower and slower, and the sound changes sound softer and feature more reverb in the carrier. To improve the clarity of spoken words, this parameter should be set to a low value.
EFFECTS MENU Corvex More information is available in "Effects -> MAGIX plug-ins (view page 698)". Backward With this function, the data of the sample in the wave project within the selected area/the selected object in the virtual project along the time axis is reversed so that it can be played from back to front.
EFFECTS MENU Quality Here you can specify, what quality Anti-aliasing filtering or Reconstruction filtering should take place when increasing or decreasing the sampling rate. Standard: At this quality level, a faster interpolation algorithm is used, which is also applied during real-time resampling. High: In addition to the "standard" quality level, a filter is set to dampen the alias frequencies or to improve the reconstruction (interpolation).
EFFECTS MENU Backward With this function, the data of the sample in the wave project within the selected area/the selected object in the virtual project along the time axis is reversed so that it can be played from back to front. Makes Loops (offline) With this function you can call up a complex algorithm for loop editing in wave projects. First, select a range that roughly shows the loop positions.
EFFECTS MENU essentialFX Chorus/Flanger This plug-in offers a simple way to make signals sound more interesting, "spacier", thicker, etc. by modulating or delaying the pitch - the classical domain of application is for guitars, Hammond organs, electric pianos, or synths. Chorus and flanger are two closely related effects, which are combined into a single plugin. They normally differentiate in terms of delay time, type of modulation, and degree of internal feedback.
EFFECTS MENU depth: This parameter specifies the depth of the modulation, i. e. the maximum deviation of the modulation and the resulting pitch bending. feedback: This parameter defines the portion of the delay that is sent back to the input. Feedback causes the effects of modulation to be more drastic and cutting. Nullification of the feedback is set at the middle of the fader. Set to the right, the feedback is fed to the input equi-phasal; to the left, the feedback occurs.
EFFECTS MENU depth: Similar to chorus/flanger, whereby it's the filter notches that are addressed, and not the pitch modulation. feedback: The feedback portion produces a more drastic effect in this case. Similarly to the chorus/flanger, co-phasal or opposite-phase feedback is possible. mix: Regulates the mix ratio of the original signal and the delayed portion. Reverb This involves a completely algorithmic reverb plug-in.
EFFECTS MENU - Plate: Simulates a reverb plate. Very dense reflection pattern, penetrating but musically open "metallic" appeal. Very well suited to Drums and Vintage/special effects. - Room: Small room reverb. Middle to high signal diffusion, low to middle reverb time. Well suited for adding a "dry", natural sound to instrumental, spoken, or vocal recordings. - Hall: Mid to large hall. Low to mid diffusion, later response than a "Room". Ideal for simulating concert halls and larger soundscapes.
EFFECTS MENU Stereo Delay The stereo delay is a simple too for typical bread and butter delay effects. The stereo delay offers the "analog algorithm", which features the sound of echo devices of yesteryear. Stereo delay parameters mode: This selects between the essential algorithms. Digital: Normal, transparent delay Analog: Simulation of a bucket brigade delay (BBD). These devices, which originate from the pre-digital era, used analog building blocks for storage.
EFFECTS MENU the feedback parameter is in the center of the fader. To the right, the plug-in works in "Dual delay" mode (both sides work independently), and to the left, "Ping pong" mode will be activated (the delayed signal alternates between the left and right sides). mix: Regulates the mix ratio of the original signal and the delayed portion. Compressor This plug-in is a simple but effective tool for reducing the dynamics of a signal.
EFFECTS MENU If another track in the project triggers the compression, select External sidechain here. This will use a second stereo track routed to the plug-in. Make the regular adjustments in the arrangement to route the sidechain signals. sc filter: This fader determines the application/middle frequencies, that are filtered with the control signal for level detection. In many cases evaluating the detection is a good for optimizing the leveling process.
EFFECTS MENU Tube Stage Preamplifier are still used today, if the signal needs a warm, flattering sound. This is often not only about saturation or distortion artifacts, but rather more about getting a compact and more vivid sound picture. A tube stage makes things a little more dynamic, this is not due to the tubes itself, but rather the entire circuit, which interacts with the tube in a way that amplification levels don't do on a semiconducter basis.
EFFECTS MENU (so-called Class A operation). Thereby odd and even harmonics are created. The typical 'warm' tube sound to a large extent dates back to the characteristic overtone spectrum. For each half-wave in class-AB operation, a separate tube is used, so that in principle there is a symmetrical reinforcement. The signal contains predominantly uneven harmonics. The sound image appears thinner but more transparent and solid.
EFFECTS MENU Gate The Gate is operated in much the same way as the eFX_Compressor. In particular, the side-chain function, and selecting various filter types can be also be applied here. The operation is similar to a classic analog gate. Here emphasis was placed on a fast and accurate response, where the typical artifacts such as rough, "flat" sounds are avoided by digital gates. The eFX_Gate continuously scans the signal and automatically selects optimal settings according to the current values.
EFFECTS MENU Hold Function is useful for signals that need a rather short release time, but shouldn't be flattened out. threshold: This fader defines the threshold beneath which the gate should be initiated. range: Here you can set the Gating strength. Right extreme means that the signal beneath the threshold is cut out completely. Subtly attenuating the signal can remove background noises or breathing from vocal tracks.
EFFECTS MENU phase: This fader moves the right channel's oscillator phasing relative to the left, wave is put back to the right. So that the Tremolo effect drifts apart in the stereo field with ever increasing values. At 180° both oscillators work in reverse, therefore the stereo effect is at its strongest. depth: This determines the strength that the oscillator signal has on the Tremolo/Panning effects. tempo sync: when the switch is activated the "rate" fader snaps to values on the musical grid.
EFFECTS MENU DeEsser Parameters freq: Determines the frequency of the filter used for detection, and filter blocking in the signal route. Typically the sibilants in speech or singing voices are in the 6 - 8 kHz range. Speaker symbol (pre-listen): This allows you to hear the "solo" filter frequency so you can locate noisy sections quickly and easily. reduction: Regulates the filter attenuation in the signal route.
EFFECTS MENU DeEsser: The effect is very similar to that of the eFX_DeEsser. Here, however, the application frequency is set. The filter used in eFX_VocalStrip works in another range. The fader determines the degree of reduction. compression: For the most part, an eFX_Compressor component contributes to working parameters for optimizing voice recordings. The further the fader is turned the lower the threshold and higher the compression ratio.
EFFECTS MENU "?" button: This opens the online help for the plug-in. Parameter Smoothing Each plug-in offers soft controlling. Pot settings are softly faded internally from the old value to the new one. This is particularly noticeable when playing in "Live" mode. Due to performance reasons, switches (e.g. on/off) and some settings of VariVerb Pro that change delay times directly or indirectly are excluded from this action.
EFFECTS MENU Compressor Section Two completely different compressors work in AM-Track, each with their own independent control and sound methods. You may be wondering why we mention sound when talking about a compressor, since compressors merely relate to control actions. This isn't as simple as the idea of "making loud quiet".
EFFECTS MENU The filtered signal then arrives at the detector. With the forward gain control, previously set parameters apply fully and affect the adjustment settings immediately. In contrast to this, there is a "feedback" method which provides a second compressor mode. VINTAGE Mode This mode appears as a preset when AM-Track is started. It has less parameters than the VCA mode and has audibly less of a "surgical" quality, but more of a trimmed sound character.
EFFECTS MENU "Vintage" mode simulates a circuit design from the time when VCAs were not yet or could not be fully implemented. Instead, a FET (field effect transistor) was often used as a controllable resistor. This, together with constant resistance at the circuit's gate, builds a so-called voltage splitter, i.e. this forms a resistance change at the FET (caused by a change in voltage at its gate), which results in a damping of the input signal.
EFFECTS MENU average level may be compressed severely. From a technical point of view, the control process appears incomplete, but sounds pleasantly open and airy depending on its application. The entire detection is dependent on the spectral balance in the virtual AM-Track circuit, the highs are automatically less strongly compressed, so that even extreme settings sound less flat and more lively. It's the same story with deep bass.
EFFECTS MENU and moves the characteristic softly into the reduction. A "hard" setting is useful for effect-filled, acoustic compression, e.g. individual drum tracks. A softer setting is useful for complex and sensitive sources like guitars, pianos, or vocals. The more complex the signal, the easier it will be to notice a difference. For less sensitive sources, this parameter is usually less important.
EFFECTS MENU adjust the "classic" level reduction and amplification manually, you can deactivate this function. Adaptive release: This is "semi-automatic", i.e. you can roughly adjust the release time, and AM-Track reduces it according to the current signal power from "a little (1%)" to "considerably slower (100%)". In "Vintage" mode, this regulation method is particularly intense, since it affects the feedback loop process.
EFFECTS MENU In addition, memory effects when recording tapes are responsible for a part of the characteristic sound, since time-dependent factors play a role in the feeding of the tape reel along the heads, e.g. mutual inductance and self-erasure.
EFFECTS MENU Tips for Applying Tape Simulation The harmonics generated during saturation can quickly cause a state of "acoustic fatigue" for the listener, particularly for high-frequency rich material and/or a frequency shift at the benefit of the highs. A direct 1:1 comparison with the tape section switched off reveals slight differences. Subtle settings are generally sufficient for complex signals in order to create a slightly "analog touch".
EFFECTS MENU Drums (e. g. kick, snare, toms, subgroup signal): Increasing or decreasing the attack leads to a harsher or softer sound respectively, while increasing or decreasing the sustain changes the room information with overheads or ambience tracks. Acoustic or electric guitars and basses (accentuate or dampen the attack, e. g.
EFFECTS MENU Level (left channel): An increase takes place above the line; moving the fader in the opposite direction reduces the level. The signal remains unaffected in the centre position. Level (right channel): As above. Normally, both channel faders are coupled together by default (as are the internal "detectors"). You may edit the channels separately by depressing the button with the padlock symbol. The control voltages for both channels are then determined separately.
EFFECTS MENU Use the mix fader to set how much of the processed signal is in the entire signal. Creative Tips for Working with AM-Pulse We have added a few presets to AM-Pulse for selection from the preset menu of the console. Several of these are ideal starting points for the following experiments: Attack & sustain are often contrary processes. For example, if you would like to add more "bite" to electronic drums by accentuating the attack, experiment with reducing the sustain level.
EFFECTS MENU Much like AM-Track, AM-Pulse contains a soft clip circuit at the output for making sure overmodulation doesn't occur. The method mentioned with AM-Track also applies here. Analog Modelling Suite: AM-Phibia Samplitude Pro X Suite AM-phibia is a tube amplifier/channel strip. It combines an optical compressor with a pre and post filter unit. By selecting the filter presets the suitable setting can be chosen depending on the input signal.
EFFECTS MENU Typical examples applications of am-phibia: an optical compressor (the classic LDR-based light sources are modeled) a valve pre-amp a sound pre-processor with corresponding EQ and compressor settings valve guitar modeler with pre-amp, sound processor and case simulation a signal processor for warm sound synthesis with all selectable valve settings audio "mincer" Audio refiner Valve exciter Many application options can be selected from a comprehensive preset list.
EFFECTS MENU to the resistance result in a change in the amplification factor of the entire circuit (controllable voltage divider). The light source is fed from the output instead of the input due to historical, practical reasons: the circuit gently oscillates to the signal and is very stable without additional settings, and operates very musically so that in hardware reality, this type of device can be built with a minimum amount of required components (which improves sound quality).
EFFECTS MENU which is also available in this case, is not available in a Baxandall network and has been made possible in the existing circuitry as cascading low and high-pass sections, much like in common passive equalizers. The interesting thing about this setup is the effect the individual steps have on the entire phase response, which contributes to the unique sound of this circuitry. - guitar passive Classic switching such as on Marshall/Fender amps.
EFFECTS MENU AM-Phibia – 5) postfilter This section only provides a low and high parameters; the cutoff frequency point of both may be adjusted, however (see "Expert view" below). - active The same parameters as the pre-filter stage, except that the mid band is missing. - passive cut Baxandall (cut) network similar to the pre-filter, but without mids. - exciter Amplifies the low and high frequency ranges via frequency-dependent saturation.
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EFFECTS MENU AM-Phibia – 6) volume Volume is compensated using a valve circuit that adds atmosphere. This circuit ensures that the output signal does not exceed 0 dB. AM-Phibia - Expert View Opening this view mode gives you even more opportunities for editing. Some decisive sound parameters of the device are accessible directly from here: - opto mem This changes how the optical coupling device addresses the compressor and thus the related memory effect.
EFFECTS MENU - character This controller works together with clipping and the gain button. Sometimes, however, this effect is very subtle, meaning that an immediate effect is not audible with all effects. If AMPhibia is used as a guitar amp simulator, the controller can determine most of the sound. "Character" only works on the tube bias (control voltage for regulating the electron flow within a tube). Capacity changes are also influenced by this reaction, since tubes feature a memory effect.
EFFECTS MENU Analog Modelling Suite: AM-Munition Samplitude Pro X Suite AM-Munition: compressor/limiter program AM-Munition is a compressor/limiter for spicing up the mix and giving it more kick. This mastering and dynamics tool makes the mix not only louder and adds definition, but can also be used as a limiter. In the process, transients are conserved and a compact, but nonetheless loud signal is delivered.
EFFECTS MENU AM-Munition appears inconvenient and complex compared to other traditional dynamics tools at first. However, with its combination of available steps, modes, and parameters, the plug-in offers creative flexibility and provides a powerful tool in the hands of ambitious sound engineers. Overview of AM-Munition AM-Munition is composed of the following sections: Mode: The basic functionality of the plug-in is specified here.
EFFECTS MENU on this principle sound very musical and open, and they are well suited for the compression of program material, provided the actions are not supposed to happen too quickly. Besides controlling the light source to achieve a specific reference line and envelope curve, AM-Munition compressors enable the ratio of the input signal to edited signal to be mixed. This parallel compression offers far-reaching possibilities for the subtle compression of signals.
EFFECTS MENU This sort of disturbing intermodulation and roughening of the complete sound image may be reduced, especially with clearly-defined bass material. The applied frequency filter is modeled on the Linkwitz-Riley filter (4th order, 24dB/Octave, Butterworth characteristic), which is often found in speaker construction. This produces an adequately sharp separation of bands and ensures an exact phase length as the bands are combined at the output.
EFFECTS MENU AM-Munition Parameters MODE M/S/stereo: Selects functionality; 2-channel stereo or middle/side encoded. Link: At 0%, both portions of the signal will be treated discreetly by the sidechain (L/R or M/S). 100% complies with that of a mono summation of the detector signal. Middle and high values are sensible for complex signals, which sometimes show deflection to the side of the stereo field. The settings of this controller affect compressor 1 and 2 and the limiter in the master section.
EFFECTS MENU The more the slope fader is set to the right, the more portions of the signal will be drawn into the compressor input. In this way, the controller combines "feed-forward" and "feedback". The leads to a higher weighting of the transients to produce an aggressive reference line. We generally recommend a slope setting in the lower third of the fader for a less conspicuous transparent compression.
EFFECTS MENU Sidechain filter: Describes the functionality of both controllers for the filter switch in relation to the filter network in the compressors. By limiting this the frequency field, the ranges may be excluded from detection or weighted less. MASTER Output: AM-Munition's final output level. Make sure that the soft-clipping switch is located at the final stage of the output. The function is to block signal peaks passed on by the limiter.
EFFECTS MENU for this purpose. This works together with the corresponding controller as a signal dampener. Since the match function lies at the final position of the signal path, you can obviously also use it to remove audio material with a lower level than that defined by the output clipper as 0 dbFS via the plug-in. AM-Munition CONFIG Click the "Config" button to access additional AM-Munition parameters. The regular compressor view will be hidden and a separate display will appear.
EFFECTS MENU Highpass filter @ input: At the plug-in's input, there is a high-pass filter with variable cutoff frequency and edge steepness. Especially for mastering applications, this can take over the tasks of "cleaning up" the signal before additional processing and filtering out lowfrequency sections which aren't required or could possibly cause overmodulation/reduction of the signal's maximum loudness. The filter applied features Butterworth characteristics (q=0.
EFFECTS MENU overtones/harmonics will appear at the clipping threshold. Below this level, the sound image will remain completely neutral. Larger values of this parameter produce softer clipping or saturation of the signal. Initially, this highlights only even numbered, lower-order harmonics (mainly so-called "k3" harmonics). For example, a sine pattern of 1 kHz is added to an overtone of 3 kHz and lower amplitude.
EFFECTS MENU CORVEX – chorus/flanger When referring to the chorus and the flanger effects in CORVEX, we aren't discussing only one of the two effects, but also the variations between them that go beyond the standard concept. A chorus generates the typical "floating" sound as known from guitar sounds or synthesizer pads. You can add acoustic "depth" to an instrument to add more power to the sound or to create the illusion that multiple instances of it are present.
EFFECTS MENU A complete flange effect will definitely require feedback: the flange portion is returned to the input to increase the effect. People often refer to this as the "jet effect" since it resembles a jet on take-off. CORVEX Parameters Delay/Modulation Section Time: Specify the delay time to set whether you want a chorus or flanger sound.
EFFECTS MENU Modulation speed: The rate of modulation. Slow times create a quiet beat; high speeds sound like vibrato or, in extreme cases, like it's under water. The type of modulation may be selected using the buttons. Waveform selection: sine, square (sqre) and random (rand) are available. The sine wave is suitable for rhythmic, quiet sounds. A square wave sounds quite drastic and very rhythmic.
EFFECTS MENU values, simply modulate the pitch a little (the small controller below "time") to break up the creation of comb artifacts resulting from static repetitions. Complex: Usually each voice pairing functions in "PingPong" mode, i.e. the left channel is reflected to the right and vice-versa. In "Complex" mode, the feedback & diffusion parameters are combined, which produces a quite chaotic sound. In "Complex" mode, each one of the eight possible voices affects every other one, i.e.
EFFECTS MENU ECOX – Echo/Delay This delay provides a creative playing style that's different from common delay effects. On playback, change the delay times without creating scratchy digital artifacts. Instead, the times are faded out softly, similar to the old tape echo machines or bucket-brigade circuits that used the tape speed to change the delay and when the system was also slightly sluggish.
EFFECTS MENU ECOX - Delay Time left + right: The delay times can be adjusted separately for left and right. Use the "synced" settings to select the note value which the controller should snap to. The same note values may be selected as in CORVEX. You can also leave out "sync" and specify free delay times in milliseconds. Link button (lock symbol): Press this button to change both channels simultaneously with a delay knob. The link function also affects the two modulation depth faders in this section.
EFFECTS MENU ECOX - Feedback Path Filter section, feedback, diffusion, stereo width: see CORVEX ECOX also includes some pretty wacky presets in addition to the regular ones, just to prove how much this echo device is capable of - be creative... FILTOX – Multimode Filter Much like CORVEX and ECOX, FILTOX is also a "modulation effect". In this case, everything relates to frequency response deflection: a modulation source controls two filter units.
EFFECTS MENU Low-pass Band-pass Notch High-pass Usually, these filter types are designed so that they are able to be toggled. However, a "state-variable" network is used with the Chamberlin filter, which means that all filter types can be taken from "taps" simultaneously. So why leave these taps static when they can be processed dynamically...
EFFECTS MENU "Speed left & right" controller: These set the LFO speed. In "Envelope" mode, these may be used to set the attack & release of the envelope for each channel. This means that minimum speed settings can cause a quick increase of the envelope to produce quick modulation access. Since attack & release are coupled settings, quick attacks correspond to short release values. This way, the control voltage for the filter drops more quickly than at middle or slower settings.
EFFECTS MENU VariVerb - Algorithms The algorithms in VariVerb Pro specialize in a specific type of room creation that may be selected from the list of "models" in the display: Room A: Small to medium-sized room, dampening of the low frequencies, immediate response, high density/diffusion. Room B: Room similar to A, less dampening, slightly different reflection pattern, response is slightly slower. Hall A: Larger hall, slower reverb buildup, less density than the "rooms".
EFFECTS MENU VariVerb - Overview of Details When you open VariVerb for the first time, the device will open in a kind of "Easy" mode. The Display is the core of VariVerb, since this visualizes the available parameters, their current values, and a graphical visualization of the reverberated envelope. The preset list is located above the device interface in the console, where you will find the typical settings for various everyday studio work tasks.
EFFECTS MENU A "Zoom" controller is located at the top left corner. You can use it to evaluate the initial reverb phase. Larger zoom steps represent the first milliseconds, and for room and hall models, these also indicate the most important initial reflections. The controllers for the actual reverb parameters are located below the display. Only the most important ones are accessible first, such as room size and reverb sustain.
EFFECTS MENU EQ low/high: Allows you to "pre-filter" the signal before adding reverb. The filters have shelving characteristics. The trigger frequencies vary according to the model type. Predelay: Determines the delay time for the actual reverb process. This parameter is ideal for fine tuning in order to convey a feeling of "distance" or "isolation". Size: Determines the room size. Moving the slider to the left means the smallest size, moving it to the right extends the reflection times.
EFFECTS MENU Parameter: EQ low/high: See room/hall Pre-delay: See room/hall Size: Size of the virtual reverb plate Buildup: Low values result in a fast reverb increase. If the value is greater, the activation phase also increases. Decay: Reverberation time, see room/hall Damp freq/damping: See room/hall Width: See room/hall Modulation: Slightly alters the pitch by automatically varying the internal delay times, comparable to a chorus effect.
EFFECTS MENU Spring You may be familiar with reverb spirals from guitar and keyboard amplifiers. At the bottom of these amps, a unit consisting of two to four spirals is mounted on a vibration-free carriage. Like the reverb plate, this uses systems for transforming the electric signal into a mechanical one and the other way around.
EFFECTS MENU and late reflections. These migrate in time. The proportion of first reflections depends on the position of the audience. In "HQ" mode, a reflection pattern and entire sound impression including stereo positioning may be edited via a top view of the selected room. In "Expert" view, the usual section with the reverb sustain moves to the right and makes room for viewing from above.
EFFECTS MENU MIDI cc setup: The MIDI CC setup is a relatively simple routing matrix, whereby 8 of the available freely configurable MIDI controllers can be used to control 8 internal parameters. Every "Controller" field corresponds with a "Destination" field. Next, select a MIDI controller directly from one of the lists or use the learn function. If you activate one of the buttons to learn it, any following external controller movements will be used to get the MIDI CC number.
EFFECTS MENU Vandal (Vandal in Samplitude Pro X Suite/Vandal SE in Samplitude Pro X) Virtual guitar & bass amplifier Vandal is a complete simulation suite for guitarists and bassists. This plug-in is capable of simulating the entire signal chain, from input to stomp boxes, amplifiers, microphoned loudspeakers and post-processing studio effects, all in top quality. We focused on several aspects while designing this program, which make Vandal a very special plug-in in terms of its amp modeling.
EFFECTS MENU Comparably low CPU load. Playing live requires the highest-possible drop-out prevention and as much "head room" as possible. In the studio, you may require multiple instances of the same plug-ins in one song. For example, for one specific metal riff you may require 10 guitars instead of two for that real "punch in the gut"; simply let Vandal rise to the occasion in 10 separate instances...
EFFECTS MENU Input level: VANDAL and the real world Independent of the preferred software, amp modeling has to feature impeccable integration with audio hardware and ASIO drivers. Please ensure stable and latency-free operation and the largest possible signal-to-noise ratio of the converter or the complete analog section when selecting appropriate equipment. If in doubt, ask your audio equipment dealer for advice and consider your entire computer system.
EFFECTS MENU natural high-gain playing styles. You should make use of metering for this as well (the LED indicator next to the input control). If needed, activate the noise gate and adjust it so that it lightly suppresses the input signal during pauses in playing. VANDAL does not cut the input as hard as classic gates do, but instead regulates them finely via the signal energy, beginning with the highs, at the point where noise is most audible.
EFFECTS MENU Components Stomp Boxes (pedals) The real world has produced a series of effect devices popular with guitarists and bassists in the "stomp box" format. We've also included a rich palette of these devices. Vandal includes four "stomp slots" for use with effects equipped from the list. The signal flow within this chain runs from left to right. Stomps can be moved around freely, by dragging an unused area on a pedal's surface.
EFFECTS MENU Overdrive/Distortion La Crema: Inspired by the world's most famous distortion pedal: the Ibanez Tube Screamer. La Crema offers soft musical overdrive sounds for solo parts, or simply serves to provide the amp with a prepped, contoured signal. The available gain is comparatively moderate; this is a typical pedal for classic rock and blues. Halvar: The name may sound a bit clumsy and coarse. In reality, however, this blue Scandinavian is a real softie and is a homage to Yngwie J.
EFFECTS MENU Fuzz: I can't get no Satisfaction, Foxy Lady. That basically says it all... The Fuzz effect is famous for its singing-saw sound. Where overdrive and distortion effect the signal in a comparatively mild way to let it "breathe" within limits, Fuzz attempts to rebuild the sound from the ground up according to its own principles. Bass Distortion: This pedal is of great service for bass players in search of juicy & meaty tones.
EFFECTS MENU PhaseShifter/Tremolo: A phaser alone is already quite spacy, and a tremolo can sound a bit psychotic, but both together... Whether soft or choppy modulation (->Wave), slightly out of tune, or with sharp resonance effects... (-> Shift Q), it can sound as if it's up in the clouds or totally sick! Flanger: Although technically related to the Chorus function, the Flanger uses shorter delay times and internal signal feedback to produce slightly edgier modulation effects.
EFFECTS MENU Delay / Reverb Digital Delay: A simple delay pedal without too many frills that features maximum sound transparency. Simply set the time (via the delay controller), the feedback, and the damp level, mix it in, and that's it. As required, the delay time may be snapped in to the host software's currently active tempo via the sync switch. TimeTunnel: Compared to the DigitalDelay, this pedal is a real vintage item.
EFFECTS MENU SpaceCake Echo Reverb: This pedal is a perhaps unusual amalgam of a muti-tap delay and a reverb systems known from the late 1970s. Using proper BBD (bucket-brigade delay) emulation techniques borrowed from "TimeTunnel", the signal feeds two seperate delay lines here. Each delay has 4 taps on the output, which have user-adjustable weighting. This alone already lets you dial quite unusual reflection textures. In "reverb" mode, things can go more wild.
EFFECTS MENU Compressor: The heart of this pedal is the modeling of a simple floor-board effect's typical control circuit, which is based on an FET (field effect transistor). FET compressors are famous for their speed, high degree of sustain, and above all for their character at comparably low switching complexity. Of course, the guitar signal may also be compressed subtly or only the attacks may be enhanced specifically.
EFFECTS MENU Tube Compressor: This stomp box uses virtual tube circuitry. Although in this case, it doesn't neccessarily mean the process is about distortion. It's more the fact that the gain-reduction process is a function of tube operation: like the "variablemu" concept used in popular concepts from the 1950s onward, a tube can be externally controlled to change its amplification factor. Of course, such a circuit can be driven hard by purpose and produce typical tube-like saturation textures.
EFFECTS MENU TrebleBooster: This effects pedal is ideal for that "British" sound or any kind of crunchy style. It effortlessly provides crystal clear highs to the amp or to other connected stages. Rhythm guitars come to life, while leads sparkle out of the speakers. The underlying circuit remains unique in spite of a certain likeness to vintage treble boosters.
EFFECTS MENU Amplifier VANDAL essentially offers 2 different amplifiers; a guitar amp and a bass amp. These may be selected from the list in the "amplifier panel" below the stomp view. As we mentioned, in VANDAL we found our own way and avoided modeling specific amplifier brands and models. The amplifiers are setup variably, allowing you to get a number of different sound characteristics out of your VANDAL amp. Internally, these circuit designs work exactly the same as the real versions.
EFFECTS MENU Guitar Amp Circuit Philosophy The VANDAL guitar amp offers three different pre-amp modes and two switchable end stage models. This basic configuration may be changed via the wrench symbol on the right side of the amp.
EFFECTS MENU and a comparatively high liability of erosion. The latter has been left out of the modeling, of course... Class A/B, high power: In this case, each half-wave has its own tube, which (almost) doubles the efficiency. Class A/B router amps are more complicated to implement (and calibrate). Compared to Class A, the sound characteristics include descriptions such as "sovereign" and "powerful", but somewhat "colder", because they result in almost exclusively odd harmonics.
EFFECTS MENU contrast to the "Classic" version, this preamp setting sounds more "alive" and reacts much more sensitively to dynamics, pick-up selection, and gain settings/guitar volume. "Modern High Gain" delivers the typical fat sound that is rich in highs, similar to American amps like the Mesa/Boogie & Co. in 3 cascading amplification stages.
EFFECTS MENU and it filters the signal before it is distorted by the next stage. This is known as "voicing". For fun, turn a curve in both directions and move around a bit with the frequency controller in the spectrum. This will give the amp a completely different character. By combining channels, pre-amp modes and voicing, you can create a completely individual amp sound and even imitate other amps.
EFFECTS MENU Bass Amplifier During development of the VANDAL bass amp, it was our main goal to create a recipe consisting of the best amp designs in a single amp featuring an all-tube design that would be simple and easy to use.
EFFECTS MENU The louder you play, the more light falls on the photo resistor, which in turn dampens the signal. This may already be familiar to you from the most famous studio compressor for bassists, i.e. Urei LA2A, which functions according to the same principle. There aren't that many settings to change in such a simple compressor. The control times are mostly determined by the sluggishness of the photo resistors. The comp control only sets the signal strength, which is routed to the light source.
EFFECTS MENU Loud speakers Housing Recording space Microphone True to our "custom amplification" philosophy, this process provides total freedom and a certain measure of personal dynamics, which is the final deciding factor at the end concerning whether the system feels "lively". VANDAL also takes subtle effects into account, such as the reaction of the speaker's housing, the effect of this on the end stage that is applied, and so on.
EFFECTS MENU Microphones Cabinet simulation offers two separate microphones for the recording of the virtual speaker in a modeled recording space (MIC 1 & MIC 2). Similar to a real-life situation, you may position a virtual microphone stand in a space to achieve interesting mixing ratios and stereo effects.
EFFECTS MENU Cabinet Balance: We have already explained that the housing is an important part of the overall sound. This parameter allows you to set just how much effect this has. Turned all the way to the left, the speaker exists almost "free in space", turned to the right, you are picking up sound directly "in the box". Enclosure Damping: This parameter sets the level of housing resonance. The normal value is in the middle of the control range.
EFFECTS MENU Effects units may be selectively operated one behind the other (serial) or parallel. Switching may be changed via the mode switch. The following algorithms & effects are available: Mono Delay (msec & tempo sync): Selectable as a simple delay with freely adjustable delay time or synched to the sequencer tempo with a musical raster. In case of higher feedback values, a reduction of the damping frequency is required to provide natural echo sound.
EFFECTS MENU Console In the quick start (view page 747) chapter, we mentioned that the console is the central switchboard for all of VANDAL's software.
EFFECTS MENU Scene memory Imagine you have to put together a set list for a gig. A good idea might be to create a list in Vandal in the form of presets. It might be an idea to create a new folder and enter the location and date of the gig as a title. Then save the individual presets for each song in it. As a guitarist, you will probably want more than a single setting for each of your songs.
EFFECTS MENU On its right hand side, there is a sub menu for acessing in-depth adjustments of the software: remote ctrl (Control): Remote parameters for external control, either from the sequencer or via MIDI, can be assigned here. patch list: The underlying sub page serves for mapping MIDI or VST programs to actual presets.
EFFECTS MENU Try setting the fader to 10-15%. Of course, the level of compensation depends on the concrete sound; if any at all... This is, after all just an example. Enter a sensible name for "Remote 1" by double clicking it, e .g. "Pedal gain". The MIDI/Remote configuration may be left again by clicking the wrench symbol. The main display will now feature "Pedal gain" in the first remote storage section and the assigned MIDI controller (volume).
EFFECTS MENU On this page, numerous in-depth settings to the software can be accessed. These act as "global" modifiers, which means they affect all (following) instances of Vandal, and they work regardless of the current chosen preset. startup preset: Here, the default preset is specified, which will be loaded at plugin instanciation.
EFFECTS MENU Waveform Generator This dialog contains a powerful generator for test tones. Select RAM or HD as the type in mono or stereo at a resolution of 16-bit or 32-bit float. The following sample rates are available: 22050, 32000, 44100, 48000, 88200, 96000, 176400, 192000, and 384000. As a waveform, you choose between rectangle, triangle, sine, sawtooth (upwards), sawtooth (downwards), white noise, pink noise, and brownian noise. You can specify the length in samples, milliseconds, or SMPTE code.
EFFECTS MENU Process Only Left/Right Stereo Channel Choose whether you wish to edit the left or right channel here. Of course, this is only useful if the signal you wish to edit is a stereo signal. Clicking again deselects everything. Process Effects Offline All effects opened using this menu are calculated destructively, provided the option "Apply effects offline" is active. The option to work with a copy is available in order to preserve the original audio material.
CD/DVD MENU CD/DVD Menu This menu contains special functions for the CD/DVD mastering process like setting CD tracks, sub-indices and dialogs for creating CDs or Audio DVDs. Samplitude allows you to directly burn CDs from any project virtual project or any stereo HD wave project. A sample rate of 44.1 kHz is required. 24 bit objects are converted into 16 bit objects in the CD burning/CD trackbouncing process.
CD/DVD MENU 3. Select the desired track(s) using the keyboard combination "Shift" or "Alt" and the cursor keys. 4. Click on "Copy selected CD tracks..." 5. Select a file name for the created wave file or HD wave project and click OK. 6. The audio material is now copied onto your hard drive from the CD. A progress bar indicates the status. 7. Close the track list and the drive list. New objects will appear in your VIP containing the audio material of you CD.
CD/DVD MENU Read ISRC: This option reads the ISRC (International Standard Recording Code) for the inserted CD. This is a 12-digit ID number that provides specific information like the originating country of the label, the label's company number, the year, and a sequential title number. The ISRC code is entered into the subcode when the CD is pre-mastered. Text file: Exports all of the information listed as a text file. Auto-crossfade mode: Activates "Auto-crossfade" mode when importing audio tracks.
CD/DVD MENU Drive name: Enter the name of the drive. Host adapter number: Enter the name of the SCSI host adapter. Normally, this value is 0. SCSI ID: Enter your CD-ROM drive's SCSI-ID. SCSI-LUN: Select the SCSI LUN parameter; this is normally 0. Alias: Select your CD drive's manufacturer. Copy mode "normal": Copies the audio data without any software correction. Copy mode "sector synchronization": Copies the audio data using a software correction algorithm.
CD/DVD MENU 1. Open the dialog via "CD/DVD" or via "File -> Load/import -> Import audio DVD (view page 448)". 2. If more than one drive is installed, click the "DVD drive" list to open the drive list dialog. Select the desired DVD drive. 3. Select the desired track(s) using the keyboard combination "Shift" or "Alt" and the cursor keys. 4. Click "Copy tracks" 5. Enter a file name for the resulting wave file and click "OK". 6. The audio material will be copied onto the hard drive from the DVD.
CD/DVD MENU Plug-ins used in the mixer 32-bit float -> 16-bit conversion and dithering Generate a completely new file for the whole CD: Use this function to create the CD in case the computer is not fast enough to burn on-the-fly. This mode calculates your project including all effects and creates a new file. Make sure there is enough space on your hard disk for this file (approx. 700 MB for a complete CD).
CD/DVD MENU Show TOC... This button leads to the TOC (table of contents) dialog. Under "Display" you can select what extra information should be displayed. Pause Track Flags / ISRC (view page 778) Sub-index position in the Track Under "Length calculation" you can select the "CD track length includes pauses" checkbox. This means that the time span between CD pause index and CD track index is factored into the length of the track.
CD/DVD MENU TOC - Export Pressing the "TOC export" button saves the information on the CD's contents as a *.toc file. Burn CD CDR write settings -> Simulate write process: Use this option to test the various write speeds. Test and compare CD after burning: This writes a temporary wave file to the hard disk while burning a CD. Note: This function requires increased performance when burning CDs, especially at higher burn speeds.
CD/DVD MENU Note: The non-final audio CD should not be used as a multi-session disc. Use it as a blank disc with less capacity. Activate burn proof: This option activates a quantization check after the burning process. Burn CD Text: CD text information is saved in the CD audio format for export via the "Load audio CD track(s)" function. CD-Text settings: This opens the CD-Text/MP3 ID (view page 792) editor. Note: Windows Media Player (up to version 10) cannot analyze CD-Text information. Create DVD-Audio.
CD/DVD MENU When creating an audio DVD, the "trackbouncing" dialog will open. Select either "Create DVD audio" or "DVD video with stereo PCM". Note: Note that the creating a "DVD video with stereo PCM" does not provide authoring or image information. For extensive authoring options we recommend "MAGIX Movie Edit Pro". Format: You can choose between 16 and 24-bit audio. If "Create DVD audio" has been selected, then the sample rate may also be defined. An external program will open if "Path" is pressed.
CD/DVD MENU Detailed information on this can be found in the menu reference under "File" -> "Program Preferences" -> "Dithering Options (view page 498)". DVD-Info: Learn details about project length, maximum DVD length, and select either PAL DVD or NTSC DVD. Source: Selected range only: In this case, trackbouncing is only applied to the length of the selected range in the arranger. This function does not work track-selectively, i. e.
CD/DVD MENU Set CD Sub Index Choose this option to place a sub-index marker at the current play cursor position. The numbers of the subsequent sub-index markers are customized automatically. Sub-index markers are not required for CD creation, but they allow CD players to cue to specific points within an audio track. Set CD pause index The CD pause index is a special Sub index (Index 0). Choose this option to place a pause marker at the current play cursor position.
CD/DVD MENU Delete all markers: Deletes all project markers. Set Track Indices on Object Edges Choose this option to place a track marker at the beginning of every object in the VIP. Set Track Indices on Object Edges - Options Set also Pause Indices on Object Ends This option automatically generates pause markers at the object ends. This option allows you to set an offset for the generated track markers.
CD/DVD MENU CD-Title-/ Index-Manager This dialog displays all the CD tracks and sub-indices in the current project in a list. If you select the markers, you can change their numerical position in the list via the corresponding time input field and name or rename them.
CD/DVD MENU CD Index Settings: Here you can set several options for the individual CD tracks, including Copy protection (SCMS) ,Pre-emphasis, Second generation protection, as well as ISRC code (view page 778):These settings can be transferred to all indices. Pre-emphasis means that high frequencies are accentuated before A/D conversion when creating a CD's. Even during A/D conversion high frequency quantization noises will emerge. Now the Audio signal with high accentuation will be written to the CD.
CD/DVD MENU CD-Text/MP3-ID-Editor Here you can enter text information for the CD you are going to burn. The CD track names are adopted from the CD track marker's labeling in the VIP. All information is also contained in the project, but in this dialog window you also have the possibility to save all entries in a separate file. (*.cdt) Note: The number of maximum available characters for the entire CD is 2824.
CD/DVD MENU You will see gaps between the individual objects in the project. These are the inserted pauses. The duration of inserted pauses may be specified in the "Set pause duration" dialog. Get freeDB Title Info Use this command to start a search request where the freeDB database searches for and provides information on tracks from you project. freeDB acquires information on CD track names and artists. In the CD import dialog, you can request information about the desired CD.
CD/DVD MENU Clear freeDB Cache With this function you can delete the cached data from freeDB. Search CD Online and Set Track Indices Search for a CD online by entering the CD name or artist. The track markers are requested from the online database. If the search was successful, click "Disc ID" for the desired CD. You'll now see a text page with the track data.
CD/DVD MENU audioid audioid is part of the MPEG-7 standard and for identifying audio material. In this case, audio data is recognized automatically and associated information, e. g. track or artist name, is provided in real time.
VIEW MENU View Menu This menu contains tools for changing the screen view of Samplitude. Mixer Use this menu item to open the mixer. Detailed information about the mixer is available in the chapter "Mixer (view page 158)". Shortcut: M Transport Console Shortcut: Ctrl + Shift + T Detailed information about the transport control is provided in "Screen elements -> Program interface -> Overview -> Transport console (view page 52)".
VIEW MENU Double clicking lets you select and edit most sizes. Time display – current field Position/start of range: Displays the current position/current play cursor or the beginning of the range. When moving the objects, you can see the starting position of the object here. Enter a negative number into the range when editing and the play cursor will be set to the end of the range. Range length/object length: Specify the range length/object length here.
VIEW MENU Visualization Shortcut: Ctrl + Alt + Shift + V The visualization screen displays the audio material graphically. The interface allows you to design multi-visualizations individually. You can integrate the visualization interface into the Docking Bay (view page 51) or open it in its own window. The visualization is, as standard, sub-divided into five display windows.
VIEW MENU Device: Here you can set which output the visualizations should refer to. With this option you can determine which device should be displayed if multiple audio devices available. If you, for example, mix more than four submix busses that are each routed to a different device, you can display each bus individually. Visualization layout: Here you can load preset layouts, save individualized layouts or modify layouts by adding or removing columns and rows.
VIEW MENU Peak meter The (Multi-) peakmeter (Instrument multimeter) displays the volume during playback in dB. The thinner, outer bars show the Program Peak Meter (PPM Meter) whilst the thicker, inner bars display the VU meter, as you may still know from your analog equipment. If you only want to see either the PPM display or VU display, select the corresponding display instrument. You can also determine the display configuration for Multimeter.
VIEW MENU PPM-Meter Headroom (dB): With this you can initiate a level offset which will be globally added before measuring. This is the reason why different systems are calibrated differently. A value of 9.0 (IRT) e.g. ensures that the level with + 9 dB is calculated in such a way that the extra 9 dB has got more headroom at its disposal, provided your player is accordingly calibrated.
VIEW MENU Overmodulation threshold (dB): This values indicates from which dB value clipping is displayed, i .e. when the display hits the red. Minimum number of overmodulated samples: This value represents the number of consecutive samples that are allowed to exceed the overmodulation threshold before the display hits red. Activate True Peak Measuring: In True Peak mode you can measure the peak meter with fourfold oversampling. PPM-Meter Scale You can choose different display options on this page.
VIEW MENU Color settings: Enter the colors and thresholds for the overmodulated, critical, optimal and undermodulated ranges. Note: If you define a threshold for the optimal range which is higher than the reference level minimum, a defined color will be displayed for the undermodulated range, should it fall below the set threshold level. VU-Meter On this page, just as with the PPM meter, the parameters Headroom, Integration time, Peak hold DC-Filter andCut-off frequency are available.
VIEW MENU it's not so much the loudness, but rather the musical dynamics that take center stage. Setting the level to 0 dB sets the reference volume which no longer matches the maximum level, as often used to be the case. According to the program and audio material, three different meter scales can be used: K-20 = 0dB reference (83dBSPL) at -20dBFS K-20 is especially recommended when using audio with large dynamics like classical music or film sound.
VIEW MENU The bit meter shows you the rate at which the signal is being calculated at and which maximum editing rate is possible. Correlation meter With the correlation meter you can read phase offsets between the two stereo channels, and examine how much has been deleted. A value of +1 corresponds with 0° phase shifting. The value -1 corresponds with 180° phase shifting.
VIEW MENU Surround meter The surround meter displays the signal using the surround settings that are set as global. It shows each speaker's level in a polygon on a sound representative area. L/R Oscilloscope (phase correlation): Phase correlation provides information on the distribution of the stereo image in your recording. A mono recording would be displayed as a vertical bar in this view.
VIEW MENU If the signal display tends to be diagonal the stereo mix is not balanced. A channel would be accordingly louder than the other. In the settings dialog you can access the various grid settings. You can choose between Mid/Side, L/R, Hybrid and a mode for measuring signals. The image is correspondingly increased in pre-amplification mode, to ensure readability. You can also switch off this mode and set a constant amplification factor instead.
VIEW MENU In the settings dialog you can select the colors for Mono and Stereo and mono compatible ranges, threshold values can be set too. Spectroscope In the Spectroscope the signal is divided up into individual frequency ranges. The level amplitude of each frequency band displays volume of the relevant frequency range. This is a way of telling whether certain frequency bands are being strained. Spectrogram In the Spectrogram the signal is displayed as frequency proportions in a time curve.
VIEW MENU The tuner displays the corresponding pitch levels featured by the signal. Use the visualization to tune a guitar or other instruments. Video Window This function opens the video window, e.g. to apply a media link. Track Editor This menu item opens the track editor on the left edge of the arrangement window. This enables access to all important track parameters for the selected track.
VIEW MENU Main Toolbar 2 Use this command to hide or show the second toolbar. A check behind the menu item indicates that the second toolbar is visible. Positionbar Use this command to hide or show the position bar using positioning and zoom buttons. A check after this menu point indicates that the status bar is visible. Positionbar 2 Use this command to hide or show the second position bar and the positioning and zoom buttons. A check after this menu point indicates that the status bar is visible.
VIEW MENU Autoscroll Switches autoscroll on/off. See "Playback -> Playback parameters (view page 578)". Keyboard shortcut: Scroll lock Autoscroll Soft Toggles between page and soft autoscrolling. See "Playback -> Playback parameters (view page 578)". Keyboard shortcut: Shift + Scroll lock Rebuild Graphic Data The graphical display of a project is recalculated in this case. This is usually unnecessary, but does help with errors or inaccuracies in the display after offline editing.
VIEW MENU The "3 (clips)" mode can be especially helpful when searching for loop points in the wave window. In the top large window the entire sample can be viewed, in the bottom left window area the beginning can be viewed and in the bottom right window area the end of the loop is displayed. This view can also bee seen by using the shortcut "B". The corner values of the three windows can be independently adjusted.
VIEW MENU Grid Lines This provides a choice between various line layouts for the grid display. The display of the grid helps makes the positions in the arranger window more legible. Units of Measurement Specify the units of measurement for the grid view here. The following units are available: samples, milliseconds, hours/mins/secs, SMPTE, SMPTE/milliseconds, CD-MSF, feet and frames 16 mm (40 fpf) and feet and frames 35 mm (16 fpf), noise reduction (meter).
VIEW MENU VIP Display Mode Definition... Mode 1 Mode 2 Toggle between mode Detailed information on display options can be found via "File > Program Preferences > Definition > View Options (view page 491)". Overview Mode "Overview" mode displays all objects in the project clearly arranged below the arranger tracks. The mouse pointer becomes a magnifying glass in this area.
VIEW MENU according to the height of the selected area in the wave project. This is useful when an overmodulated area has been previously selected exactly, and now has to be repaired. If you have set "Vertical lock", the range display will include the complete wave editing window, like normal. Store Position and Zoom Level Save the current position and zoom level here. These may be retrieved via the menu item "Get position and zoom level" in the "View" menu and on the number pad of your keyboard.
VIEW MENU Get Zoom Level Load the zoom level here. This may be retrieved via the the number pad on the keyboard. The numbers 4, 5, and 6 on the keypad may be used to save presets. Shortcut: Num 4 Num 5 Num 6 Horizontal This menu contain horizontal functions for clip control, which are also partially represented in the bottom position bar as buttons.
VIEW MENU Shortcuts: Half section left Half section right Cut to play cursor Clip to the start of field Clip to end of field Zoom in Zoom out Show all Zoom to range Ctrl + Alt + Left arrow Ctrl + Alt + Right arrow Ctrl + Alt + , Ctrl + Alt + B Ctrl + Alt + N Ctrl + Left arrow, Up arrow Ctrl + Right arrow, Down arrow Ctrl + Alt + Up arrow Ctrl + Alt + Down arrow If you can't see the play cursor in the current VIP's image section, then the command "Section to play cursor/Last stop position" moves the visib
VIEW MENU Shortcuts: Half section up Half section down Zoom into waveform Zoom out of waveform Zoom Out Volume Automation Zoom Out Volume Automation Shift + Page down Shift + Page down Ctrl + Page up Ctrl + Page down Ctrl + Shift + Page up Ctrl + Shift + Page down Cascade This function arranges all open windows one behind the other. Tile This function arranges all open windows one one top of the other.
VIEW MENU System information Use this function to open a new window with the system information. Display the date/time, number of open files, the free memory on all connected hard drives, the configuration of Windows resources, and the amount of memory used by Samplitude. FTP Download... This menu item opens an FTP download window. Enter your FTP access data and click on "Connect..." to establish an FTP connection immediately. Files may be downloaded, but not uploaded. 1, 2, ...
HELP MENU Help Menu Help Menu This command displays the overview page of the help file. You can jump to specific commands or read instructions on this page. Help Index… Choose this option to display a list of available help contents. Context Help… This command turns the mouse cursor into an arrow with a question mark. Click any menu item or button in one of the toolbars to receive more information. Shortcut: Shift + F1 Open Manual… Use this command to open a PDF version of the Samplitude manual.
INDEX Index 1 1 Mono -> LR Wave ...................................................................................453 1, 2, ... .......................................................................................................819 2 2 Mono -> LR Wave ...................................................................................452 2 Mono -> Stereo Wave..............................................................................452 2-Channel Surround Mode..........................................
INDEX Advanced ruler/time display........................................................................ 106 AIFF File with QuickTime............................................................................. 452 AIFF... ........................................................................................................ 451 Algorithms for Time Stretching/Pitch Shifting .............................................. 572 Alternative mixer skins ....................................................
INDEX Automatic volume fader mode for MIDI tracks ...............................................33 Automating the Surround panorama module ...............................................238 Automation .................................................................................118, 327, 426 Automation – context menu ........................................................................335 Automation Draw Mode ........................................................................
INDEX CD/DVD Menu ................................................................................... 419, 777 CD-ROM Configuration Dialog .................................................................... 779 CD-Text/MP3-ID-Editor .............................................................................. 792 CD-Title-/ Index-Manager ........................................................................... 790 Cell Edit Mode......................................................................
INDEX Converting an existing stereo VIP into a VIP with mixer in surround format...225 Convolution – problems and solutions .........................................................678 Convolution (Offline) ....................................................................................678 Copy ..................................................................................................285, 513 Copy + Clear ...........................................................................................
INDEX D Deactivate all MIDI functions ......................................................................... 33 DeClicker/DeCrackler SE ............................................................................ 668 DeClipper SE.............................................................................................. 667 DeEsser ..................................................................................................... 696 Define transients............................................
INDEX Distortion....................................................................................................662 Dithering.....................................................................................................483 Dithering Options... .....................................................................................498 Docking ........................................................................................................51 Dongle Activation...................................
INDEX Effect routing.............................................................................................. 181 Effect routing/plug-ins dialog ...................................................................... 174 Effect routing/plug-ins dialog parameters.................................................... 175 Effects – organization and workflow............................................................ 178 Effects - Signal flow..............................................................
INDEX File manager options...................................................................................142 File Menu............................................................................................412, 439 Filter curves ................................................................................................680 Filter setting parameters..............................................................................675 Filter/EQ .........................................................
INDEX Groove template......................................................................................... 260 Group Objects............................................................................................ 559 Group track controls .................................................................................. 533 Group/ungroup objects .............................................................................. 133 Grouping mechanism for Surround FX, Surround control group .........
INDEX Input level – VANDAL and the real world .....................................................748 Insert ..........................................................................................................515 Insert Grid Position Marker..........................................................................519 Insert New Notes ........................................................................................285 Insert New Tracks............................................................
INDEX LFE settings ............................................................................................... 227 Link curves with objects ............................................................................... 77 Link objects on active track .......................................................................... 78 Link objects on all tracks .............................................................................. 78 Link objects until pause ......................................
INDEX Marker view and selection...........................................................................148 Markers ......................................................................................105, 430, 587 Master automation......................................................................................335 Master Effects ..............................................................................................94 Master Routing ...........................................................
INDEX Mixer overview ........................................................................................... 158 Mixer setup ................................................................................................ 468 MMC Modes .............................................................................................. 352 MMC Setup................................................................................................ 487 Mode 1/Mode 2/Switch Modes ..............................
INDEX Network installation - Program installation .....................................................23 New AUX Bus .............................................................................................531 New Folder Track .......................................................................................531 New MIDI Object ........................................................................................545 New MIDI object in the range ...................................................
INDEX Object step size 2 ...................................................................................... 562 Object Synths ............................................................................................ 188 Object to Original Time Position .................................................................. 562 Object view and selection ........................................................................... 144 Object/Curve Mode ...................................................
INDEX Pitch (fundamental frequency) .....................................................................657 Pitch automation without change in length ..................................................661 Pitch correction (intonation correction) with monophonic audio material.......661 Pitch slice objects and VIP objects..............................................................659 Pitchshift/Timestretch Mode..................................................................71, 511 Plate.................
INDEX Project and Mixer Configuration.................................................................. 468 Project Auto Save… ................................................................................... 470 Project Information….................................................................................. 471 Project options ..................................................................................... 34, 486 Project Properties........................................................
INDEX Range Start to Left Object Border ...............................................................521 Range to Beginning ....................................................................................520 Range to End .............................................................................................520 Rangebar....................................................................................................810 Ranges.....................................................................
INDEX Retrospective MIDI recording........................................................................ 32 Retrospective Recording (MIDI Pre-Recording) ........................................... 596 Reverb ............................................................................................... 687, 763 Reverb in the object ................................................................................... 129 Reverb parameters.................................................................
INDEX Score Sheet................................................................................................284 Screen Elements...........................................................................................47 Scroll Bars ..................................................................................................432 Scrolling .....................................................................................................101 Scrub ..................................................
INDEX Set Track Indices on Object Edges ............................................................. 789 Set Track Indices on Silence....................................................................... 788 Set Zero ..................................................................................................... 606 Setup button in the VIP .............................................................................. 433 Shortcuts and Menu Settings ..............................................
INDEX Split at Transients .......................................................................................552 Split Objects .......................................................................................514, 547 Split Objects at Audio Marker Positions...............................................515, 548 Split objects at Marker Positions .........................................................515, 548 Split Objects at Track Marker Positions ...............................................
INDEX Synchronized image view in Arranger and MIDI editor: ................................ 250 System information..................................................................................... 819 System options .......................................................................................... 474 System options - Recording/Editing.............................................................. 34 System options > Design > View options ....................................................
INDEX to Range End .............................................................................................585 to Range Start ............................................................................................585 to Start of Section.......................................................................................585 TOC - Export ..............................................................................................
INDEX Undo Definitions... ...................................................................................... 497 Undo History .............................................................................................. 513 Undo quantization/reset ............................................................................. 264 Undo/Redo/Reset Quantization .................................................................. 553 Unfreeze Object .......................................................
INDEX VST MIDI out recording:..............................................................................538 VST plug-in/VST parameters dialog.............................................................341 VST/DirectX/ReWire....................................................................................483 VSTi Manager .............................................................................................156 W WAV ................................................................................
