Magix Music Maker 16.0 Owners Manual 16 EN

User Manual: magix Music Maker - 16.0 - Owners Manual Free User Guide for Magix Music Maker Software, Manual

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2 Copyright
www.magix.com
Copyright
This documentation is protected by law. All rights, especially the right
of duplication, circulation, and translation, are reserved.
No part of this publication may be reproduced in the form of copies,
microfilms or other processes, or transmitted into a language used
for machines, especially data processing machines, without the
express written consent of the publisher.
All copyrights reserved.
All other product names are trademarks of the corresponding
manufacturers. Errors in and changes to the contents as well as
program modifications reserved.
MAGIX Music Maker and Goya are registered trademarks of MAGIX
AG.
ASIO is a registered trademark of Steinberg Media Technologies
GmbH.
This product uses MAGIX patented technology (USP 6,518,492; USP
6,888,999) and MAGIX patent pending technology.
Other named product names may be registered trademarks of their
respective owners.
Copyright © MAGIX AG, 1994-2009. All rights reserved.
Preface 3
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Preface
MAGIX Music Maker 16 Premium offers both an easy start and also
lets you experience what it's like to dive deeper into the depths of
music production. A giant, high-quality sound archive, an especially
intuitive approach to creating original music, plus many useful
functions result in an unbeatable complete package for making your
own songs.
Handling is especially easy and consistent. The included sounds and
video files can be combined with the software synthesizers in
seconds; MP3s with audio CD tracks, your own music recordings
with videos, photos or graphics, and even VST/DirectX plug-ins or
MIDI files can be perfectly integrated with one another.
These features will transform your computer into a universal
production studio for music and all other kinds of multimedia files.
The included CD-quality musical building blocks can all be easily
combined since they are all categorized according to tempo and
harmony. The video clips, photos, and graphics provide the perfect
basis for image production. And for those of you who want to start
making songs effortlessly and straight away, "Song Maker" will take
care of almost everything for you.
The print manual explains all of the basic functions of the program. In
addition, you get a PDF manual which describes each function in
detail. If you prefer to discover the many possibilities of the program
by yourself, you can also use the PDF manual simply as a reference.
An alphabetical index is included at the end. Simply click on an item
of interest to jump to that particular section in the manual.
Have fun with MAGIX Music Maker 16 Premium,
The MAGIX team
4 Preface
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Table of Contents
Copyright 2
Preface 3
Support 11
Before you start 13
Package contents 13
System requirements 13
Installation 14
Serial number 15
More about MAGIX 16
MAGIX Online World 16
magix.info 17
MAGIX Sound Essentials 17
Introduction 19
What is MAGIX Music Maker 16 Premium? 19
What’s new in MAGIX Music Maker 16 Premium? 19
The features 21
Additional features of the Premium version 25
Overview of the program interface 28
Quick start 30
Play demo project 30
Song Maker 31
Preview and load audio files 32
Position audio objects 33
Add videos and synthesizers 34
Editing objects 35
Effects 36
Export arrangement 36
Create audio CD 37
Arranger 38
Normal mode/Easy mode 38
Tracks 38
Trackboxes and Instrument icons 39
Zooming 40
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Grid 41
Playback area: Start and end markers 42
Moving the playback marker 43
Transport Bar (playback functions) 44
Arranger, Video Monitor, and Media Pool 46
Arranger buttons 47
Media Pool 48
Preview function 48
Positioning the Media Pool 48
File manager settings 49
Soundpool settings 52
Synthesizer 54
Template setting 55
Object inspector settings 55
Setting Catooh 56
Videoscreen 57
Peak meter 57
Overview 58
Infobox 58
Mouse modes 59
Move selection 59
Move to track 59
Move all 60
Automation 60
Draw 60
Split 61
Stretch 61
Preview audio 61
Scrubbing 61
Replace 62
Context help 62
Arranging Objects 63
Save and load arrangements 63
Multimedia files and objects 63
Select objects 64
Mute objects 64
Build or split object groups 64
Split objects 65
Exact object positioning 65
Duplicate objects 65
Object handles 66
"Draw in" loops 67
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Takes 68
Object properties 68
Mixdown tracks 69
Audio Objects 70
Audio formats 70
Load and process audio files 70
Smart Preview for the incorporated samples 70
Audio recording 71
Import audio CD 74
Change the playback tempo or pitch 79
Remix agent: Tempo and beat assignment 81
Remix Maker 87
Harmony Agent 89
Text to Speech 90
MAGIX Music Editor 91
MIDI Objects 92
What is MIDI? 92
Arrange MIDI objects 92
Transpose MIDI 93
MIDI interface and external sound generator 93
Convert MIDI objects into audio files 93
Connect external equipment 94
MIDI Editor 95
Drum Editor 112
Synthesizer objects 117
Opening the synthesizers 117
Note for users of older Music Maker versions 118
Synth objects 118
BeatBox 2 plus 119
Drum & Bass machine 2.0 132
LiViD - Little Virtual Drummer 135
Robota 136
Atmos 146
Synthesizer plug-ins 147
Revolta 2 147
MAGIX Vita 150
VST and DirectX plug-ins 152
What are VST and DirectX plug-ins? 152
Use VST instruments 152
VST Plug-in Editor 153
Deploying VST/DirectX Effects 154
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Live Performer 156
Define ranges 156
Play with Live Performer 157
Sequencer 158
Live Pads 160
MIDI assignment Live Performer 163
Arranging with Live Performer 164
Record audio output 164
Audio effects 165
Effects 165
Using audio effects 166
Object and master effects rack 168
Equalizer 170
Sketchable filter 171
Compressor 172
Invert phase 172
Reverb 173
Sound Warper 177
Elastic Audio easy 178
Vocoder 188
Gater 190
Backwards 191
Timestretch and pitchshift 192
MAGIX Mastering Suite 193
Essential FX 199
Vintage Effects Suite 203
Vandal 217
Video and Bitmap Objects 224
Video and bitmap formats 224
Adjusting the video screen 224
Loading and editing videos and bitmaps 224
Simplify object presentation 225
Visualizer objects 225
Video scrubbing 226
Extract sound from videos 226
Video effects 226
Title editor 227
Video capturings 229
Video recording dialog 230
Video Compression 232
Choppy or uneven playback 233
General notes on AVI videos 233
Create a video project for the Internet 234
8 Preface
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Video export via TV-out 234
Automation curves 236
"Dynamic Effects Editor" dialog 236
Dynamic effects 237
Rhythmic envelope 238
Curve Generator - Options 238
Editing the effect curve in the dialog 239
Editing the effect curve in the arrangement 239
Mixer 240
Fader 240
Control groups 241
Track effects 241
VST and DirectX audio plugins 242
FX tracks 243
Live monitoring 243
Master track 244
5.1 Surround 245
Requirements 245
Import and export of surround audio files 246
The Mixer in surround mode 247
5.1 Surround Editor 248
Automation 249
Integrating other programs - Synchronizing and ReWire 250
Synchronization 250
ReWire 254
Reprocess arrangement 256
Export assistant 256
Export as email attachment 258
Export as ringtone 258
Podcasting 261
Export to YouTube 264
Add songs to your MySpace profile 265
Upload song to DJ Tunes 267
Create Audio CD 267
File menu 269
New arrangement 269
Load arrangement 269
Save arrangement 269
Save arrangement as... 269
Export 270
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Import 278
Backup 279
Settings 280
Exit 288
Edit menu 289
Undo 289
Redo 289
Object 289
Range 292
Track 293
Navigation 294
Effects (FX) 296
Song Maker 296
Audio 296
Video 302
Title 303
Automation 303
Media Pool views / template folders 304
View menu 305
Easy mode 305
Arranger 305
Media Pool 306
Video monitor 306
Mix 307
Standard layout 308
Online menu 309
Catooh – the Online Content Library 309
MAGIX Online Album 310
magix.info 312
MAGIX News Center 313
More online services 313
Manage login details 317
Tasks menu 317
Help menu 317
Show welcome dialog 317
Documentation 317
Help from other users 318
Update program / Upgrade functions 320
MAGIX Creation Logo 323
About MAGIX Music Maker 16 Premium 323
10 Preface
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Buttons overview and keyboard shortcuts 324
Toolbar 324
Keyboard shortcuts 324
Index 333
Support 11
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Support
If you experience any problems with your software, please contact
our support team:
Support website: http://support.magix.net/contact/us
This website takes you to the MAGIX user service page; the following
free offers are also featured there:
• FAQs (frequently asked questions) and general tricks and tips. In
most cases, you’ll find the solution to your problem here. If not, use
the email support form.
• Email support form: Use the special form to inform our support
staff about your system. This information is used to solve your
problems quickly and competently. Simply fill it out and send it with a
mouse click!
• Support forum: You are not alone... Perhaps other users had a
similar problem and can help you solve yours. Our support staff are
also regular contributors.
• Download section: Updates, improvements, and patches are
likewise offered free of charge via download. Many problems you
may experience are already familiar to us, and they can often be
solved by downloading the latest patch. Besides patches, there are
also wizards for checking and optimizing your system.
• Links: The links list contains the contact addresses for all of the
most important hardware manufacturers.
Please note: To be able to use the support, you have to register your
product using the serial number provided. This number can be found
on the CD case of your installation CD or on the inside of the DVD
box.
You can also reach our support team by telephone:
UK: 0203 3183666 (Monday - Friday, 09:00-16:00
GMT)
USA/Canada 1-775-562-0527 (9 am to 5 pm EST Mon-Fri)
Denmark: 699 18763 (Mon.- Fri. 10:00 - 17:00)
Finland (Suomi): 09 42419023 (Mon.- Fri. 11:00 - 18:00)
Norway: 210 35843 (Mon.- Fri. 10:00 - 17:00)
Sweden: 0852500713 (Mon.- Fri. 10:00 - 17:00)
12 Support
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You can request a free access code to the phone support hotline by
clicking on this link: http://support.magix.net/phone
Please have the following information at hand:
• Program version
• Configuration details (operating system, processor, memory, hard
drive, etc.), sound card configuration (type, driver)
• Information regarding other audio software installed
You can also contact our support team by mail:
UK/Skandinavia: MAGIX Development Support, P.O. Box 20 09 14,
01194 Dresden, Germany
US/Canada: MAGIX Customer Service, 1105 Terminal Way #302,
Reno, NV 89502, USA
Customer service & upgrades (US only)
Periodically, MAGIX offers users who purchased their software an
upgrade from a previous product to the current version. For details
about an upgrade, please call us your request using the following
numbers:
Sales Department 1-305-722-5810
Monday to Friday 9am – 5pm (EST)
Before you start 13
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Before you start
Package contents
DVD
On this DVD you will find the installation manager for MAGIX Music
Maker 16 Premium, as well as the multimedia library with sound and
video files in various genres.
The Terms and Conditions for usage of MAGIX sound and video files
when releasing your works to the public can be found in the "MAGIX
Creation Logo.pdf" file in the installation folder.
Manual
The printed manual only contains the basic functions of both program
versions MAGIX Music Maker 16 Premium and MAGIX Music Maker
16 Premium. Additional features of the Premium version are marked
accordingly.
In addition to the printed manual, there is also more detailed
documentation which is copied to your hard drive during installation.
This electronic PDF manual describes all program functions of the
program packet in detail.
System requirements
Computer:
• PC with 1 Ghz, or higher;
• Min. 512 MB RAM (1 GB recommended)
• Free hard drive space: 3 GB;
• Graphics card with min.resolution 1024 x 768 at 16-bit-high-color;
• 16-bit sound card;
• DVD-ROM drive;
• Microsoft®-compatible mouse (mouse wheel recommended)
• Operating system: Microsoft® Windows® XP | Vista™
Optional:
• Burn CDs/DVDs with CD/DVD±R(W) recorder & software
• MP3 export with Windows Media Player 10, or higher
14 Before you start
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• Access to and publication on www.magix.com and in MAGIX Online
World only with Internet connection and an up-to-date browser
• Emails can be sent with standard email software Microsoft®
OutlookTM or Microsoft® Outlook ExpressTM
Installation
Step 1: Insert the program disc into the drive. The installation
program starts up automatically. If the disc doesn't run automatically,
• open Windows Explorer and click the letter of the CD-ROM drive,
• or double click on "Start.exe" to start the installer.
Step 2: To begin the installation of MAGIX Music Maker 16 Premium,
click on "Install". The MAGIX Music Maker 16 Premium installation
program will appear.
Hint: During installation, you will be asked (in case there are multiple
users on your computer) if you would like to set up for the
administrator. The option "Administrator only" restricts use of the
program to the specified administrator. The "All users" option allows
all users of the computer to use the program.
Simply follow the on-screen instructions to complete the installation
process, and then click "Continue". All files are now copied onto the
hard drive.
Step 3: Once the installation is complete, confirm the message by
pressing "Finish". Now you can start the program at any time from
the Windows "Start" menu.
Serial number 15
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Serial number
A serial number is included with each product, and although it is not
required for the installation of the software, it does enable access to
additional bonus services. Please store this number in a safe place.
What can a serial number do?
A serial number ensures that your copy of MAGIX Music Maker 16
Premium is clearly assigned to you and only you, and it makes
improved and more targeted customer service possible. Abuse of the
software can be prevented with a serial number, since it ensures that
the optimum price/performance ratio continues to be offered by
MAGIX.
Where can the serial number be found?
The serial number can be found on the reverse side of your CD/DVD
case. If your product, for example, is packed in a DVD box, then
you'll find the serial number on the inside.
For versions that have been especially optimized for the Internet
(download versions), you'll receive your serial number for activating
the software directly after purchasing the product via email.
When will you need the serial number?
The serial number is required when you start or register MAGIX Music
Maker 16 Premium for the first time.
Note: We explicitly recommend registering your product, since only
then are you entitled to get program updates and contact MAGIX
Support. Entering the serial number is also required for activating
codecs.
16 More about MAGIX
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More about MAGIX
MAGIX Online World
MAGIX Online World from MAGIX offers you a range of new services
for your photos, videos, and music that are accessible directly from
the "Online" menu in MAGIX Music Maker 16 Premium:
MAGIX Online Album
MAGIX Online Album (see page 309) is your personal multimedia
album on the Internet. If you want to present slideshows or videos
online, then MAGIX Online Album is the perfect service.
MAGIX Blog Service
With MAGIX Blog Service, YOU make the news! Share your thoughts,
experiences, and news with a worldwide audience in no time using
your own interactive online multimedia journal. Invite family, friends,
and acquaintances to join in and enter their comments! A free MAGIX
Online Album belongs to the MAGIX Blog Service so that you always
have full control over your contributions. You can also read the FAQ
(frequently asked questions) on the Internet at:
http://rdir.magix.net/?page=GRF14Q24VIRN
MAGIX Website Maker
MAGIX Website Maker helps you create a personal Internet
showcase with a professional design in just a few mouse clicks –
without prior knowledge, including your own chosen domain and
email address. Publish slideshows and videos and accessorize your
site with music and various effects – anything from a simple business
card to a fireworks display of effects, professional or private – show
your best side!
More about this topic can be found under MAGIX Website Maker.
(see page 315)
MAGIX Online Print Service
MAGIX Online Print Service is perfect for getting your pictures
processed online or printed as photo gifts on mugs, t-shirts, or
calendars.
More about MAGIX 17
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Catooh – the Online Content Library
If your project is missing pictures, videos, DVD menus, sounds, or
samples, then you should have a look at the huge selection available
at Catooh. There you'll be able to buy media in excellent quality for
low prices: DVD menus, MovieShow Maker styles, decorative
elements, 3D power effects, 3D transition series, MAGIX Soundpools,
songs, ringtones... Perfectly suited to all MAGIX photo, video, and
music projects.
magix.info
Help and get help - Directly from within the program, you'll be able to
access magix.info, the new MAGIX Multimedia Knowledge
Community (see page 312). In the Multimedia Knowledge
Community, you'll find answers to all of the most frequently asked
questions about MAGIX products and multimedia in general. Couldn't
find an answer to your particular question? No problem, just ask the
question yourself.
You can go to magix.info in the "Online" menu, or via this
button.
MAGIX Sound Essentials
MAGIX Music Maker 16 Premium includes thousands of sound and
video samples, but additional media can also be ordered later. The
MAGIX Sound Essentials provides you with professionally produced
loops and samples in impressive quality – the ideal enhancement for
the most varying of music styles, including:
• Ambient
• Big Beat
• Easy Listening
• Dance / Electro
• Disco / House
• Soundtrack
• Hip Hop
• Rock / Pop
• Techno / Trance
• Special effects
In the upper menu bar under "Tasks -> Discover more", you can
18 More about MAGIX
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order the MAGIX Sound Essentials directly.
Tip: At www.magix.com you'll always find the latest Soundpool
offers.
Introduction 19
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Introduction
What is MAGIX Music Maker 16 Premium?
MAGIX Music Maker 16 Premium is the new generation of multimedia
software. From your private collection of love songs to entirely
homemade video clips – everything's possible! For your songs, music
videos, video emails, karaoke shows, funny clips, and much more.
Lots of professionally produced sound and video samples come
supplied. In the arranger, samples and videos can simply be dragged
onto the track, looped, enhanced with effects, and modified for
export – done!
There are also various synthesizer plug-ins for creating your own
sounds. Audio CDs and MP3s can be integrated, remixed, or used as
sound material. Even DirectX or VST plug-ins as well as MIDI files for
remote control of the sound card or external synthesizers can be
integrated into the arrangement perfectly. All multimedia formats can
be combined with one another in any way on any track.
In case your sounds & samples requirements are still not met, the
Internet is just a click away. It can be used as a worldwide Media
Pool with an unlimited supply of sounds and pictures. MAGIX Music
Maker 16 Premium has a direct connection to the Internet for
publishing straight to your personal MAGIX Online Album or for
directly sending via email. Your own works can also be published
directly from within the program to the MAGIX Community. Or you
can always be your own radio DJ and publish your beats and
grooves as a podcast.
What’s new in MAGIX Music Maker 16
Premium?
New loops
MAGIX Music Maker 16 Premium is the original for loop-based music
production on the PC; no other software can boast as much
experience. In the new version, the sound library that comes included
has been completely revised with plenty of new audio and MIDI
loops.
20 Introduction
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Essential FX
Thanks to Essential FX, you get the newest effects modules to
guarantee the best sound results. Essential FX may be accessed via
the mixer's plug-in slots (shortcut: M) or in the object context menu.
Vandal SE
The new guitar and bass amplifier from MAGIX. Sound fidelity never
available before even satisfies professional demands. Vandal SE may
be used directly in a track by selecting the point "MAGIX plug-ins ->
VANDAL_SE" in the mixer (shortcut: M) under "FX". The Vandal SE
interface will open for you to make numerous adjustments, just like
you would to the settings on genuine amplifier.
For a more detailed description of the options Vandal SE presents,
read the corresponding chapter in the program's help file.
Object inspector
With the help of the practical object inspector, you can work on your
arrangement even faster to avoid lost time searching for specific
effects. As soon as you have selected an audio object, this will show
you the most important editing effects. For MIDI objects, you will see
a virtually integrated keyboard for quickly inputting your melodies.
The inspector is available via the corresponding button in the Media
Pool.
Microscope mode
Activate this mode and click on an object to zoom in for detailed
editing. This allows individual drum hits in a loop to be edited in a
very detailed way, cut with the separation function, and then
processed with individual effects. In the lower right section of the
arranger, you will see a button with four arrows pointing outwards on
it. Click this button again to reset the view to the original settings.
Upload songs to MySpace
The number of relevant artists without their own MySpace site is
becoming smaller and smaller, since this is a great platform for
introducing songs. That's why MAGIX Music Maker 16 Premium
features a function for uploading arrangement directly to this Internet
community. This function is available via "File -> Export -> Upload
audio to MySpace/DJ Tunes...".
Introduction 21
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Interactive workshop
Learn about MAGIX Music Maker 16 Premium via the interactive
tutorial and find out about the important features quickly. This
function is presented in the welcome dialog.
Additional features in the Premium version:
• Larger sound archive: Over 3,500 new sounds and MIDI loops from
all genres can be accessed via the "Soundpools" button in the Media
Pool.
• Essential FX: Even more effects modules
• More sounds for Revolta 2 and Vita
• 4-band equalizer: 4-band EQ directly integrated in every mixer
channel
The features
64/96-track arranger
MAGIX Music Maker 16 provides 64 tracks (96 in the Premium
version) for multimedia arrangements – enough space to create
multiple polyphonic pieces, but most importantly, so that you don't
lose track of your project at any point.
Formats and interfaces
Import: WAV, MP3, OGG Vorbis, WMA, QuickTimeTM, MIDI, CD-A,
BMP, JPG, AVI, MXV, WMV
Export: WAV, MP3 (optional), OGG Vorbis, WMA, AIFF, AVI, MAGIX
Video, QuickTimeTM, WMV, RealTM Media Helix, BMP, JPG (all via "File
-> Export arrangement"), MIDI
Interfaces: DirectX, VSTi, and ReWire (host) support (Premium
version only, one instrument per track), ASIO.
Multimedia Library
The multimedia library provides audio and video building blocks
("samples") for combining on the arranger tracks. Loads of melodies,
effect templates, and graphical animations also come supplied for
you to use in new songs & video clips.
22 Introduction
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Software synthesizer
MAGIX Music Maker 16 Premium provides the following synthesizers:
• The "Beat Box" is a drum machine with the latest drum sounds –
playable live with the PC keyboard or a MIDI keyboard.
• The "Drum & Bass machine" creates phat beats and booming
basslines.
• "Robota" is a complete drum computer with four independent
instruments which can be played live. Several faders enable all kinds
of sound experimentation.
• MAGIX Vita. Enhance your arrangement with amazingly realistic
natural instruments from the sample specialists Yellow Tools.
• "LiViD", our "little virtual drummer" for realistic acoustic drum tracks.
Just a few instructions are enough for "LiviD" to play a complete
drum track with introduction, chorus, bridge, fill-ins, etc.
• "Atmos" for nature sounds or atmospheres like rain, thunder, or
wind.
BeatBox 2
BeatBox 2, the new groove synthesizer, lets you make great beats
with ease. It can be accessed in the Media Pool via the
"Synthesizers" button. Easy mode must be switched off to access it.
Media database
Find your recordings, sounds, pictures, and videos quicker and faster
with the MAGIX media database. An existing MAGIX database from
the MAGIX Photo Manager or MAGIX Media Manager is integrated in
the Media Pool and can be updated directly from MAGIX Music
Maker 16 Premium. Use the simple search function to find suitable
pictures or MP3 files for your arrangement.
Audio effects
MAGIX Music Maker 16 Premium provides lots of different audio
effects. A few examples:
• You can correct tempo and pitch in real time using "Resampling",
"Timestretching" or "Pitchshifting".
• The "Audio Effect Rack" supplies "Reverb", "Echo", "Equalizer",
"Compressor", "Time Processor", "Distortion", "Filter", and many
classic effects with which almost every sound can be made. MAGIX
Music Maker 16 Premium provides these sounds in amazingly high
quality. The reverb effect, for example, provides lots of realistic
reverb algorithms to add depth and spaciousness to your material.
Introduction 23
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Design your "Favorite reverb" using the many presets as a base with
their various reverb rooms which were designed for specific
instruments and applications.
• The "Gater" enables rhythmic splitting of surface sounds
• The "Vintage Effects Suite" covers "good old" guitar effects that were
activated using a foot pedal in Jimi Hendrix's era: more warmth and
fullness with "Chorus", jet-like special effects with the "Flanger" or
ping-pong effects like "Delay". The filter enables beat-matched
frequency filtering, the "BitMachine" is a distorting Lo-Fi effect for
friends of those who like it a bit rougher.
High-end 32-bit floating point
All sound changes are executed using 32-bit floating point calculation
for especially differentiated and high-quality sounds. This technology
is also used in professional studios. This way, an audio picture with
especially high dynamics can be created. Digital overmodulation and
clipping become virtually impossible.
Audio CD support
Audio CDs can be imported directly into MAGIX Music Maker 16
Premium. Just insert them into the drive and press "CD/DVD". All
tracks can then be dragged into the arranger and edited with
different features or effects. Whether for remixes or as sound material
for your own compositions – a new touch will be added to your
personal CD collection.
Own recordings
Use this recording function from MAGIX Music Maker 16 Premium to
record vocals, noises, or instruments and integrate them into the
arrangement.
MIDI integration
MAGIX Music Maker 16 Premium helps you arrange, load, record,
edit, and play MIDI data just as easily as audio data. You can
combine wave sound files with MIDI files for controlling the sound
chip on your sound card or VST instrument plug-ins or external
synthesizers, and then arrange everything together.
For MIDI recordings and editing you can use the extensive MIDI editor
with piano roll, drum editor, velocity/controller editor, and event list.
MIDI object recording can be started directly from the arranger by
setting the recording mode in the track box to MIDI.
24 Introduction
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Mixer
MAGIX Music Maker 16 Premium includes a professional real-time
mixer with effects rack and two insert effects for each channel, two
additional effect tracks, two insert effects for the master as well as
additional mastering effects. The mixer's size can be adjusted so that
more than eight tracks fit on the screen at a time. You can also group
a number of faders of a specific type (for example, volume or
panorama) and use them all together.
Harmony Agent
The Harmony Agent provides harmony recognition automatically and
determines the key and chord of any music title. See the guitar
tablature of your favorite song in real time for the arrangement!
Song Maker
The Song Maker lets you create new arrangements quickly and easily
and complement existing arrangements by automating the
complicated steps such as sample selection and combination. The
Song Maker takes over arranging whole sections such as intro and
refrain. Therefore, you do not have to do everything yourself – you
can omit the arranging and process your selection from the
suggestions.
Easy mode
The new Easy mode makes creating radio-ready hits possible even
for beginners – no time is required for breaking in, and no previous
knowledge is necessary! Extended functions for advanced users
which are confusing to beginners are hidden. Easy mode can be
switched on and off via the buttons to the top left.
InfoBox
Thanks to the new info box, all important functions can be easily
understood as they are applied. Just hold the mouse over a button
that you would like to learn about and read the info text in the
preview monitor.
Live Sessions
While the virtual instruments and sounds are played on the available
tracks, a new track can be recorded simultaneously in realtime.
What's more, you can also add realtime effects.
Introduction 25
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SoundVision
SoundVision is a new way of visualizing music which shows audio
material at a glance in the form of a musical galaxy. Similar sounds
are clustered close together; different sounds are organized further
apart. SoundVision be activated in the Media Pool via the
corresponding button. Easy mode must be switched off to access it.
Additional features of the Premium version
Additional audio effects
• "Elastic Audio" for total control over vocals. Voice samples or
melodies you sing yourself can be "tuned" to match automatically.
With the "Harmonizer" in the Elastic Audio Editor, you can add a
suitable second vocal or a whole choir to a specified melody.
• The "Vocoder" produces vocal and robot sounds that have been
altered mechanically.
• The "MAGIX Mastering Suite" with important mastering effects (see
below).
Additional styles
The Premium version includes additional styles in genres like
MovieScore, Minimal Electro, Hardstyle, Ambient and 60s Soul.
Additional Vital Instruments
Grand Piano, Soundtrack Percussions 2, Electric Guitar
Additional tracks
The Premium edition has 96 tracks (instead of 64) – even more space
for your most complex arrangements.
Object and track curve automation
Effect and volume progressions can be controlled using freely
drawable curves – for individual objects as well as for complete
tracks. In addition, you can fade in or out an echo at a specific
position in the song by drawing in a curve peak at the corresponding
position.
Video recording
In addition to audio recording, MAGIX Music Maker 16 Premium
provides a recording function for video from analog video sources for
26 Introduction
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your own video clips.
DirectX and VST plug-ins
MAGIX Music Maker 16 Premium enables the direct use of DirectX
and VST plug-ins, a large variety of which is available in retail stores
or directly online. Such plug-ins (audio effects or synthesizers from
third party manufacturers) can significantly increase the functionality
of MAGIX Music Maker 16 Premium.
MAGIX Mastering Suite 2.0
Impressive studio sound just like you hear on store-bought CDs!
MAGIX Mastering Suite is a special effects rack for use with the mixer
master channel. The included effects help you with so-called
"mastering"; put the final touch on your completed and mixed music
piece using parametric equalizers, MultiMax, limiter, and stereo
enhancers.
5.1 Surround-Sound
MAGIX Music Maker 16 Premium provides real 5.1 Surround Sound.
5.1 Surround is the preferred home cinema sound format which is
also supported when importing, editing, and exporting your work.
The 5.1 Surround Editor enables you to move your music around the
room. The finished 5.1 arrangement can even be exported in the new
MP3 surround format (developed by the Fraunhofer Institute, the
inventors of MP3).
MAGIX Music Editor
Extensive real-time audio processing, also featuring CD burning,
sound restoration, sampling, and audio editing.
Revolta 2
Revolta 2 is a powerful-sounding, varied 12-voice analog synthesizer
with highly advanced functions, sound matrix, noise generator, and a
complete effects section featuring nine effect types.
This synthesizer can create any electronic music you can imagine.
The sound presets were created by sound designers for Access Virus
and Rob Papens Albino, which makes Revolta 2 the number 1 choice
for beginners and professionals alike.
Also in the Premium version
• BeatBox 2 plus: The ultimate groove tool with even more drum kits,
automations, and an integrated powerful effects section can be
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accessed via the "Synthesizers" button in the Media Pool.
• Am-Track SE: This analog vintage compressor produces an
especially warm, pumping sound. Launch it via the effects menu for
selected audio objects.
• Timecode sync: This feature makes it possible to write songs with a
friend – simply connect two PCs via MIDI and jam together!
• MIDI step recording: Provided for composers unsure of their
keyboard playing skills who want to play perfect melodies. The MIDI
editor can be opened by double clicking on a MIDI object.
• ReWire: This function allows you to embed MAGIX Music Maker 16
Premium in other music programs.
28 Overview of the program interface
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Overview of the program interface
Menu bar This list provides the most important
editing commands.
Toolbar This contains the buttons for quick editing
and the different mouse modes.
Easy mode This turns the clearly laid-out beginner
mode on or off.
Track boxes Complete tracks can be turned on or off
(muted) or played separately (solo). Use
the FX buttons to apply track effects.
Arranger You can freely position any multimedia
material on all of the arranger's tracks.
Zoom functions Enlarges or reduces the view. The
horizontal scrollbar can be stretched and
compressed for zooming.
Media Pool All files listed here can be added to the
arranger via drag & drop.
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Monitor Previews for graphics or video files can be
selected in the Media Pool are displayed
here. All visual material for the
arrangement is also shown here on
playback. Alternatively, a peak meter, the
arrangement overview, or the InfoBox can
be shown.
30 Quick start
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Quick start
This chapter explains the basic functions of MAGIX Music Maker 16
Premium with a step-by-step introduction. A systematic description
of the program functions can be found in the PDF manual.
Tip: Open the tutorial video and the "Quick start" tutorial by clicking
on the "Help" menu. A good introduction to the program is also
available via the interactive tutorial that may be opened via the
welcome dialog.
Play demo project
The large area with the horizontal tracks is the arranger. Here you
can make all changes to the positions and multimedia objects.
You can find the Media Pool in the lower section of the program
interface. Here you can load multimedia files with various formats into
the arrangement by pressing the left mouse button and keeping it
held or by double clicking on the object. The Media Pool works
similarly to Windows® Explorer with some additional features, and
professionally produced sounds can be downloaded from the Catooh
and incorporated into your project
In the Media Pool, you will find some demo songs in the "My
projects" folder. Double click on a demo and find the individual tracks
of the song in the arranger: In MAGIX Music Maker 16 Premium you
can create a complete song simply by compiling objects. Click on the
vertical scroll bar on the right-hand side of the screen and drag them
down (hold down the left mouse button) in order to be able to see
each track.
To play the demo, click the "Play" button or press the space bar on
your keyboard. A vertical red line (the playback marker) runs across
the screen and music will play from the speakers.
Note: If you do not hear anything, check that the correct sound card
is active for playback in the "Setup" window ("Y" key). Of course, the
output of the sound card has to be connected to the speakers.
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Song Maker
To quickly create a first arrangement, you should let the Song Maker
run by itself and sit back and listen. Make sure a new, empty
arrangement is loaded by going to the "File" menu and selecting
"New arrangement".
Open Wizard...
Select music style...
• Activate the Song Maker
with the button in the upper
section of the toolbar.
• Select a music style.
• Deactivate the instruments
you do not wish to use in the
selection box.
• Enter the desired length of
the song or portion of a song
in seconds (ten seconds
should be enough to start
with).
• Click on "Create new
arrangement". Song Maker
automatically compiles an
arrangement. This is only a
suggestion.
• The suggested melody will
start playing automatically.
The play and stop buttons
beside the "Song Maker's
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Specify instruments and song length.
Your first musical arrangement is complete! Song Maker can also be
used to add more individual samples or whole song parts or to lay
down a bass or drum sound. This can then be expanded into a more
complex arrangement or refined using your own video and audio files.
Preview and load audio files
In this step you can load sound files into the Arranger for positioning
and editing.
Create another new, empty arrangement. To do so click on "File" and
select the "New arrangement" option.
Now click on "Soundpools" in the Media Pool. Various "Styles" are
shown on the left hand side of the Media Pool. Click on one of the
styles to open a sub-folder. Here you can select and preview sounds.
Some instruments are categorized according to pitch. Click on any
entry here to have the sound play automatically. Each file in the
Media Pool can be previewed this way. Use the arrow keys of your
keyboard to select the various pitches. Other instruments, like drums,
are not categorized according to pitch.
To load a file into the Arranger, simply press "Enter". You can also
drag the file from a table onto a track in the Arranger. Once you let
go of the mouse button, the file will appear as an audio object at that
position.
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Position audio objects
Each object can be moved in any way in the arranger with the
mouse, horizontally on a track as well as vertically between tracks.
Add new instruments to your first song in the arranger. For example,
take a drum sample and drag it underneath the object in a lower
track which was added beforehand.
This way, any number of files can be dragged from any folder into the
arranger and placed on top of one another, on multiple tracks, or
behind one another.
Play the arrangement in the meantime. Take note of the two markers
at the top of the bar ruler – they represent the start and end points of
the range to be played. If you wish to change the playback range, the
start and end markers can be dragged (while holding down the
mouse button) to any position on the bar ruler.
Tip: You can also move the playback marker independently of the left
start marker by clicking on the lower section of the bar ruler.
You do not need to interrupt playback to load new samples into the
arranger. MAGIX Music Maker 16 Premium has a "Smart Preview"
function: You can simultaneously preview new samples in the Media
Pool – they always run synchronous to the song in the arranger. This
function considerably simplifies the search for suitable samples for a
song you wish to create.
34 Quick start
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Add videos and synthesizers
The next step shows you how to add a video. Access the video folder
in the Media Pool and select a video file. On the video monitor to the
right, a preview of the selected video file can be shown.
Once you have found a matching video, use the mouse button to
drag it onto any track (like previously with the audio files).
To open the folder with the software synthesizers from MAGIX Music
Maker 16 Premium, you have to switch to the "File Manager" from the
Media Pool and then to the "Synthesizers" folder.
Each synthesizer can be dragged, like any other file, with the left
mouse button into the arranger tracks. The control console opens to
program the synthesizer. Object synthesizers become independent
objects after they are programmed, and then they can be moved
around just like other objects on the arranger. Track synthesizers, on
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the other hand, remain attached to the track where they have been
added.
Experiment with the various synthesizers in MAGIX Music Maker 16
Premium and take advantage of each of their individual strengths.
Editing objects
To get an impression of the object-based work method of MAGIX
Music Maker 16 Premium, you should become more familiar with the
"Objects" on the tracks of the arranger.
All objects can be shortened or looped by moving the mouse to one
of the lower corners of the object until it turns into a stretch symbol.
You can now stretch or compress the object length as much as you
like. This way you can create rhythm tracks from short drum samples
simply by stretching them.
At the top corners
of every object
there are two fade
handles that can
be adjusted to fade
an object in or out.
The handle at the top center can be used to adjust the volume of
audio objects and the brightness of video objects.
All objects can be split into multiple objects. To do so, select "Split
objects" from the "Edit" menu. The selected object will be split at the
position of the playback marker. It goes even faster with the special
cutting mouse mode.
Right clicking on an object opens the context menu with the options
available for that specific object in "Timeline" mode. The context
menu can also be opened by clicking on the button with the small
triangle in the lower section of an object.
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Effects
You should take time to experiment around with the effects. In the
context menu you can select the effects for the objects. Effects
modules are opened with which each effect can be set up to meet
your exact requirements.
Effects can also be dragged onto objects by holding the left mouse
button or double clicking. Simply open the "Templates" folder in the
Media Pool and try each of the effects listed one after the other with
a mouse click. Like with all other entries in the Media Pool, effects in
this folder always have a preview as well. If you like an effect and
wish to apply it to an object in the arranger, simply click on it, drag it
onto the object, and release the mouse button.
This works in the same way for
video effects as well. Here, a
video file must be loaded from the
Media Pool first. Lots of video
effects are mix effects which mix
two videos together.
Fundamentally, the following
applies: The video on the lower
track makes up the background,
a video on the track above it,
makes up the foreground.
Export arrangement
The purpose of arranging and editing is usually to have a good quality
audio or video file at the end. MAGIX Music Maker 16 Premium
supplies various export formats for this purpose.
To export your arrangement, click on "File" and select the "Export
arrangement" option. You can then select an export format. The
arrangement will then be exported in the chosen format.
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Note: The export calculations are independent of the playback
performance. Even if playback no longer runs so fluidly as a result of
too much processing power being required, the export file is still
generated correctly. We recommend placing already finished
passages of complex arrangements via the export or mixdown
function in to a single file to free up some processing power (and
tracks). This kind of file can be reloaded into the arrangement and
edited further with the other parts.
Create audio CD
To burn an audio CD, first export your arrangement as a WAV file:
Click "File" and select the "Export arrangement -> Audio as wave..."
option. The WAV file created can be burned as an audio CD with the
included burn program MAGIX Speed burnR.
Tip: You can use an integrated CD mastering tool in the Premium
version and a burn program to do this. Click on "File" and select the
option "Export arrangement -> Burn audio CD-R(W)" option to export
your arrangement. The arrangement will be loaded into the CD
mastering program MAGIX Music Editor and can be burned straight
to disc from there.
38 Arranger
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Arranger
Normal mode/Easy mode
MAGIX Music Maker 16 Premium can be operated in two different
views, and these can be activated by clicking on the button in the top
right. If the MAGIX Music Maker 16 Premium interface confuses you
at first, then switch the program to "Easy" mode!
Easy mode active
Normal mode active
In the beginner mode, the program presents a clearly laid-out version
which only displays the most important buttons and switches.
Functional elements for advanced users are hidden.
This documentation describes MAGIX Music Maker 16 Premium in
normal mode. If you can't find one of the functions while reading,
make sure that you don't have "Easy" mode turned on.
Tracks
The arranger offers tracks for positioning and editing multimedia
material. Additional tracks can be added by selecting the "Add track"
option in "Edit" menu. In total, 96 tracks can be used for an
arrangement.
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Fundamentally, all object types can be placed on all tracks. You can
also combine videos with MIDI and audio objects one track.
If the tracks in the arranger are not long enough, you can increase
the length by pressing the minus button (-) to the right. The size of
the arrangement adapts itself automatically when objects exceed the
space for them on the right-hand side or when new objects are
loaded.
Mute a single audio track by clicking on the “Mute” button or play
individual tracks separately (“Solo”) to emphasize a particular scene.
Trackboxes and Instrument icons
Each track box contains an
instrument icon box. If you drag
a MAGIX Soundpool sample
onto an empty track, a suitable
icon is automatically displayed.
You can also exchange the icon
by clicking on it an select
another one.
At the start of each track there is a track box where you can switch
each track to "mute" or "solo". In the lower half of the arranger below
the track boxes are two buttons, "Reset" and "Solo/Mute", which you
can use to reset all track solo/mute settings.
The peak meter can be seen beside the icons. This allows you to
control the volume of the track and to see if the track produces any
audio sound at all.
Beside the track number to the top, you'll find the track name field.
You can rename the track by double clicking this field.
The small arrow beside the name of the track opens a
menu with which you can load a software instrument (VSTi
plug-in) into the track. This will then be used by all MIDI
objects of the track. Here you also have access to the
individual sounds of the VST instruments VITA and
REVOLTA which come supplied.
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With REC you can activate the track for an audio or MIDI
recording.
A simple click puts the track into "Audio recording" mode.
Furthermore, monitoring is now activated, i.e you can hear
the input signal of your sound card on playback (learn more
in the "Mixer" chapter, "Recording/Live Monitoring" (see
page 243))
If you start recording now ("R"), the audio recording dialog
will open. The recorded audio material is added to this
track. If there is already an object on the same position of
the track, the next empty track will be used.
Clicking this button again puts the track into "MIDI
recording" mode. If a software instrument is loaded, you
can play it with a hooked-up MIDI keyboard (monitoring). If
you start recording now, a new MIDI object will be created
in the track and the MIDI editor will open. From there you
will be able to start the MIDI recording (see page 98).
Here you can open the "Track effects" menu where you will
find presets for track effects (see page 167) sorted
according to the instrument type.
With the "Move track up/down" commands you can sort
your tracks.
Zooming
The vertical zoom function sets the number of visible tracks in the
window. For a lot of tracks, enlarging the view (zooming) is sensible
for editing a single track or object.
Use the horizontal zoom function to set up the visible section of the
arrangement on the timeline.
Move/Zoom with the scroll bar
If you move the mouse to the edge of the scroll bar, the cursor will
turn into a double-arrow symbol which can be used to select and
compress/stretch the scroll bar. This way, you can zoom in and out
quickly. Dragging the middle of the scroll bar moves the visible
section.
You can tell which part of the entire arrangement is being played by
the size and position of the scroll bar. If the whole arrangement is
displayed, then the scroll bar will fill out the bar. Complete view may
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be set by doublke clicking the scroll bar.
A track may not be diminished without any limit, and the number of
maximum displayable tracks is also limited, meaning not all tracks
may be able to be viewed at once.
Zoom buttons
Zoom menu: Certain zoom levels may be selected on the
horizontal scroll bar or by clicking the zoom menu. You can
also jump to certain positions in the arrangement here.
Enlarge objects: Vertical and horizontal zoom stages are
enlarged such that all of the selected objects are able to be
displayed at maximum size. If the function is switched off,
the zoom stage will be restored.
Optimize view (see page 305)
Zoom buttons: These buttons zoom in and out
Move/Zoom with the mouse wheel
The visible section can be moved, reduced, and increased in size by
using the scroll bars. These functions can also be executed without
having to click anywhere by using the mouse to move the scroll bars
or zoom buttons or by using the mouse wheel.
Grid
Timestretching in the arrangement is displayed by the vertical
progress of the tracks. To structure this progression, a timeline
displaying time units has been positioned at the top of the first track.
Two consecutive objects will seamlessly snap together even if they
are on different tracks. This avoids undesired gaps or overlaps.
The bar grid makes sure that the objects and the start, end & play
markers only snap into place at specific positions so that they can be
positioned precisely according to the beat.
, The grid width can be set using the button
to the top left.
If, for example, "1/2 beat" has been set, then the objects and
markers snap into position at all half beat positions when moved. This
way there won't be any gaps between the objects and precisely
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beat-matched cuts are possible. The selection ranges from full beats
to 1/16 grid sizes. Triplet values are also possible.
The "Frame" setting allows fine positioning using the time code. The
time display in the timeline and transport control automatically
changes from bars:beats:ticks to hours:minutes:seconds:frames.
"Objects" deactivates the beat grid and the grid will now only affect
the object edges. You can also deactivate the grind entirely by
selecting "No grid" or by pressing "F4".
"Select beat type" switches the timeline to irregular bars like ¾ beat.
Playback area: Start and end markers
In the upper area of the timeline, there are two markers between
which playback area is displayed, and this area can be played back
as a loop (endless).
The length of the playback area is shown in blue. The number before
the point indicates the number of bars, the number following it
indicates the number of fragments corresponding to the selected
grid, e.g. 3.3 on a 1/16 grid = 3 bars and 3/16. A tilde (~) in the
display means that the playback area doesn’t have the exact raster
length and the loop is therefore "non-circular". Double clicking on the
playback area sets it to cover the whole arrangement; double clicking
again sets it between the start of the arrangement and the last
object.
This area also determines which positions are copied or inserted into
the clipboard’s memory by the the edit menu commands "Edit range"
or the keyboard shortcuts "Ctrl + Alt + C" for "copy", "Ctrl + Alt + V"
for "paste" or "Ctrl + Alt + X" for "cut".
The right end marker is always moved together with the start marker
so that the length of the looped playback area remains constant as
the start marker is moved. So always move the start marker first and
then the end marker.
The start and end markers can be moved in different ways with the
mouse. You can move them to any position via drag & drop or
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directly with a mouse click: a left mouse click in the timeline moves
the start marker; right clicking moves the end marker.
It’s even easier with the keyboard: The cursor keys move the
playback area forward or backward by a whole playback area’s
length. Press "Ctrl" as well to move the playback area by a quarter of
its length. "Shift" + cursor keys halves or doubles the playback area’s
length.
"Ctrl + Shift" +cursor keys enables you to lengthen or shorten the
playback area by a bar. Use this function as well to quickly move the
playback area onto a smooth bar length.
When you move the playback area while a playback is running, the
old area is always played to the end and smoothly changed into the
new one after. In this way you can remix your tracks in real-time with
the keyboard!
Note: If the starting marker does not move to the right with a left click
or via the keyboard, it is because the end marker would then have to
be shifted beyond the end of the arrangement. In this case, move the
start marker via drag & drop or position the end marker!
Moving the playback marker
The playback marker can be moved independent of the start marker.
To do this, click on the lower part of the timeline. If you hold "Ctrl",
the playback marker and start marker are moved simultaneously.
Once the playback marker reaches the end marker, playback is
continued at the position of the start marker. If the playback marker
was positioned outside of the playback range, the arrangement is
played to the end. The selected play area is then played as a loop.
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Transport Bar (playback functions)
With the playback functions of the transport bar you can control the
playback behavior of the arrangement using the mouse.
Tip: You can start and stop playback much more easily by pressing
the space bar on your computer's keyboard. You will also find an
overview of all keyboard shortcuts at the end of this manual.
Back to start: This button quickly moves the start marker to
the beginning of the arrangement. By clicking on "Back to
start" the start marker and play range are both displayed at
the beginning of the arrangement.
Rewind: This function can be used to rewind to the start of
the arrangement. This means that the play marker in the
timeline is reset.
Stop: Stops playback. The playback marker is reset to its
initial position.
Play/pause: This button starts continuous playback of the
arrangement: If the playback marker reaches the end
marker, the range between the start and end marker will be
played back as a loop. Another click on "Play" stops at the
current position of the playback marker (pause).
Fast-forward: Use this to move along the arrangement at a
faster speed. This means that the start marker in the
timeline is moved forward.
Record: You can create a recording with this button.
Depending on whether a track in the Trackbox has been
activated for MIDI or audio recording, the MIDI editor with a
new MIDI object or the audio recording dialog (see page
73) will open.
Looped playback can be deactivated. The playback stops
when the end marker is reached.
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Time display
The time display is
beside the transport
controller.
The current playback position is displayed here. The unit can be
switched between beats, hours:minutes:seconds, or frames by right
clicking on the time format. Switching to remaining time display
(distance to project end) is possible.
Display harmonies
If this symbol is activated, harmony symbols will be displayed during
playback. Harmonies can be detected with the Harmony Agent (see
page 89).
Volume regulation
The volume control is to the left of the transport controller. Use it to
quickly control the overall volume of your arrangement. To regulate
the volume of individual tracks, use the mixer (see page 240).
Tempo
The song's tempo is displayed here in BPM (Beats Per Minute). The
arrangement tempo is set automatically by the first sample used in
the arrangement. One click on the small arrow shows the tempo
fader. You can use this to smoothly change the master tempo during
playback. The objects in the arrangement are adapted using
timestretching.
By clicking "Tap", you can open the tap tempo dialog to "tap" in the
tempo. Simply click the "Tap" button at the desired tempo or press
the "T" key; the tempo is measured and displayed in the dialog.
Pressing "OK" accepts the tempo.
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Track position slider
The position slider quickly moves the play cursor within the visible
range.
Arranger, Video Monitor, and Media Pool
If the video screen is re-opened and the Media Pool is closed, the
video screen can be freely repositioned.
The "View" menu allows a standard setting to be switched on. If the
option "Standard layout" is deactivated, the entire screen can be
filled by the arranger in order to simplify positioning and editing
objects.
In case of very large arrangements, the video monitor can be used as
an overview display ("Menu -> Video monitor -> Arrangement
overview (see page 306)").
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Arranger buttons
The arranger buttons for quickly opening and closing all the most
important windows can be found underneath the last track in the
arranger.
Mixer
This button opens the real-time mixer.
You can modify the tracks relating to volume and the position in the
stereo panorama here, and this is also where both master effects and
plug-ins can be integrated.
Video
Opens/Closes the video monitor in "Peak meter" mode.
Live Mode
This option opens the Live Performer (see page 155).
Please refer to the "Arranging objects" chapter, section "Live
Performer" (see page 155)!
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Media Pool
MAGIX Music Maker 16 Premium's Media Pool lets you access,
preview, and load all supported media types, online and offline, e.g.
with included sound and video loops, audio CDs, MP3 songs,
synthesizers, or effects.
All media types are loaded from a local drive or directly from the
Internet into the arranger; just drag & drop them.
The upper edge of the Media Pool contains five buttons which
operate the Media Pool in different ways:
The setting Soundpools offers a database view of all Soundpools.
The File manager is very similar to Windows Explorer. It controls and
loads media files of all types on the hard drive. The Synthesizer
setting displays a list of available synthesizers. Under Templates, you
will find effects presets for all kinds of audio, video, and titling effects.
Catooh connects directly to Catooh (see page 309).
Preview function
There is a preview function for all files: By simply clicking an audio
object, the pre-listening function starts via the sound card. Video,
graphics and text objects are shown on the video screen.
As the arrangement plays on, you can experiment with sounds from
the Media Pool (see Smart Preview (see page 70)).
Note: Even while previewing, audio files are adapted to the current
tempo using timestretching (you can deactivate this in the
"Audio/Video options" menu).
Positioning the Media Pool
The Media Pool appears after the program is launched for the first
time in the left lower third of the screen. It can, however, be
positioned freely as a window anywhere on the screen or even
switched off. The view menu offers different options. e.g. arranger full
view displays as many tracks simultaneously as possible.
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File manager settings
MAGIX Music Maker 16 Premium's file manager works very similarly
to Windows Explorer. It can be used to access and load media files
of all kinds, e.g. videos, bitmaps, MP3 audio files, audio CD tracks,
RTF text files for titles.
The Media Pool consists of a file list to the right (the actual “Media
Pool”), in which all loadable media types (and, if required, further
subfolders) are listed, and the navigation area on the left-hand side.
In the file list, all supported multimedia files and subdirectories of the
currently chosen directory are displayed. All entries can be loaded
into the arranger tracks by double clicking or via drag & drop.
In the navigation area, you can find different buttons for directly
accessing preset subfolders.
You can right click in the file list to define further buttons ("links").
Switch to the folder which you would like to create a link to and
select the option "Link to folder" from the context menu.
Navigation buttons
Forwards/Back These buttons always return
you to the folder where you
were previously.
Up This button brings you to the
next highest folder level.
Drive menu You can access all available
drives via the drive menu
button.
Browse history
list and path
details
The current folder's path is
displayed in the top center.
Use the arrow button to open
the menu to find the folders
you previously visited.
View These buttons switch the file
view list between icons, lists,
or details.
Various file list view modes
The file list displays all supported multimedia files and subfolders of
the currently selected folder. Three different views (list, detail, large
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symbols) can be set by right clicking on the options or Media Pool's
context menu.
List: Only file names
are listed. This view
mode displays the
most files
simultaneously.
Details: The details
section displays the
type, size, and date
of modification for
every media file
beside the name. The
list can be sorted by
clicking on any of
these details.
Large symbols:
These can be quite
useful, since they
show a preview
frame for each movie
and picture file. This
allows you to sort
through the material
quicker. The
disadvantage is that
it takes longer for the
file list to be
displayed.
Deleting, copying, and moving files
All files listed in the media window can be selected, deleted, or
moved into other folders via drag & drop, just like via Windows
Explorer. This way, all objects desired for placement in an
arrangement can be collected in a separate folder beforehand.
Additional functions can be accessed via the context menu, i.e. by
right clicking an entry.
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CD/DVD
Clicking this button once reads the CD that is currently in the CD-
ROM drive. In the case of data CDs, all directory and file formats
supported by MAGIX Music Maker 16 Premium are displayed in the
file manager. In the case of audio CDs, all tracks appear in the file list.
Own Projects
This button opens the "My Audio/Video" directory, which is
automatically created on program installation. By default,
arrangements are exported to and saved in this directory unless
changed by the user.
Database
This button displays the media files on your computer in a
well-structured database view.
This means the files are no longer displayed according to where they
are stored in the different folders but are grouped according to
general characteristics. The top "folder level" is the difference in
audio, video or image files; subfolders would be, for instance, the
date for photos or the artist for MP3 files.
In order to present media data on your PC in a database view, you
first have to add them to the MAGIX database. To do this, click on
the database button to the right and select the option Start media
manager for photos and music.
This opens the corresponding MAGIX program and the database
scan function of the program.
MAGIX Music Maker 16 Premium comes with the free photo and
music management programs MAGIX Photo Manager and MAGIX
Music Manager. If you have the corresponding free versions, MAGIX
MP3 Maker or MAGIX Digital Photo Maker, they will be used instead.
By right clicking on "Database" and clicking on "Database search",
you can open a special search dialog in which you can carry out a
targeted search for media.
Search the database
Quick search: Simply enter a keyword and highlight the data type
(photo, audio, video). All available Database columns are searched
for the keyword.
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Expert search: Here you can restrict your search by stating search
criteria in the following way:
Database column Condition Comparison item
e.g. dimensions greater than 800
You can search up to three database columns that are connected via
"and" or "or" simultaneously.
"AND" means only those files will be listed that match all criteria.
"OR" means only those files will be listed that match at least one of
the criteria.
Soundpool settings
This setting can be used to access Soundpool media. Access to the
supplied Soundpools is via a new, more clearly laid out database
overview that enables the display of loops, multiple styles and
instrument categories, e.g. all bass loops of every installed style or
every loop of a style.
During installation, if you no longer have the Soundpools on your hard
disk, then insert the MAGIX Music Maker 16 Premium installation
DVD into the drive. The contents of the Soundpool media will now be
imported into the database. Other Soundpool media is automatically
recognized and added to the media database.
Note: Under "Program settings -> General (see page 281)", you will
find several options for maintaining and displaying the Soundpool
database.
Soundpools already present on the hard disk
can be imported via "Add styles" into the
database.
A Soundpool consists of one or more styles. Styles are sound
libraries that belong together and cover a certain musical style. The
sounds (sample or MIDI loops) of one style all have a certain tempo.
You can mix loops from different styles, and the tempos will be
adjusted accordingly. Within a style, loops are ordered according to
instruments, and one instrument folder contains different sounds.
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Each sound can have a different pitch (except for drums and sound
effects).
The Soundpool display consists of several columns: First, all styles
available in the database are shown. The second column lists loaded
instruments. The third column, "Name", contains the list of the
sounds found. These are displayed according to the length of the
beats (1,2, or 4 beats).
Sample loop
MIDI loop
The different pitches are also displayed (if available). An entry field for
full text search is located under the match list.
The list of samples found is created after entry selection in the first
two columns. "Ctrl" + mouse click reduces or expands a selection.
No selection ("Ctrl" + click on a single selected element) shows all
entries from this category.
If you select an instrument (e.g. "Drums" and "Percussion") and no
style, all drums and percussion samples in the whole database will be
displayed.
In the search field, you can search the list of
the samples found according to a certain
sound file name.
Sound Vision view: This button displays all
Soundpools as galaxies.
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SoundVision
This alternative display of the Soundpool library shows all available
sounds graphically. No matter how large the Soundpool collection is,
you can view the entire library using this 2-dimensional display. This
"galaxy" can now be accessed via the mouse to collect all of the
sounds you want.
The large clusters of "stars" are the styles, and these are arranged
from inside to outside with increasing tempo. Eventually they form a
center - the styles furthest out have the highest tempo.
Within a style are the individual instruments (e.g. keys, pads,
sequence) formed in a circle, and the drums are in the middle. Every
instrument group has a certain color assigned to it which is the same
in every style. The individual sounds are points encircled by the
individual pitches, if available.
You navigate throughout the Sound Vision view by moving the
selection displayed with the mouse; the mouse wheel enlarges or
diminishes the view. The points (which symbolize the sound loops)
can be manipulated exactly as in the Media Pool list view, i.e. select
by double clicking and load by double clicking or via drag & drop.
Synthesizer
This button opens the folder containing your synthesizers. Read more
on this in the Software synthesizers (see page 116) chapter.
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Template setting
The folders for installed effects presets will be opened. Even saved
audio and video effects presets as well as title templates land in
these folders, so that over time a complete library of your own
presets will develop. Folder for audio effects ("Audio FX"), presets for
the Vintage Effects Suite ("Vintage FX"), video effects ("Video FX",
"Video mix FX"), automatic animations ("Visuals"), and title templates
("Title") can be opened using these buttons.
You can also add effects via drag & drop. They can simply be
dragged onto the corresponding object using the mouse.
You can also precisely set up the video and audio effects via the
realistic effects rack (see page 165) or video controller via the context
menu.
Object inspector settings
The object inspector offers quick access to properties of objects, e.g.
audio effects for audio objects. For MIDI objects, the synthesizer
controlled by a MIDI object may be played directly via an on-screen
keyboard.
Audio objects
If an audio object is selected the object inspector will open featuring
the audio object view
This displays the available object effects (see page 166) in a clearly
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laid out list.
This button switches effects on
and off.
T
he settings dialog for an effect is
opened via this button.
MIDI objects
If a MIDI object (see page 91) is selected the object inspector will
feature the MIDI objects view.
The keyboard may be used to play a software synthesizer (see page
146) that is controlled by the selected MIDI object.
A sound program for the synthesizer may be
selected from this list.
This button opens the editor window for the
synthesizer for fine tuning the sound.
This button opens the MIDI editor (see page
95) for the selected MIDI object.
Setting Catooh
You can preview multimedia files from the Online Content Library
Catooh, load them into the arrangement, and edit them further .
Please read the chapter entitled Catooh (see page 309)!
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Videoscreen
The video monitor can
be positioned anywhere
on the screen. The size
is variable. To set the
size, right click on the
video monitor and select
the desired size from the
context menu or adjust it
yourself ("user-defined").
Please note that larger
video screens require
more CPU power.
To detach the video monitor from the arranger and Media Pool,
deactivate the default layout in the "Window" menu. You can then
position the screen anywhere you like.
The video monitor can be increased to full size by double clicking on
it or pressing "Alt + Enter". Press "Esc" to leave maximized screen
mode.
You can also include a large time display in the video monitor.
"Display play time" shows the current play marker position in the
video monitor. You can choose the screen & background colors and
transparency.
The video monitor is transformed into an analyzer which displays the
sound as a graphic.
"Overview" mode enables you to view the whole arrangement and
access the object you are looking for in a split second - you can
zoom in directly to the video monitor or move around the clip
displayed in the arranger.
Peak meter
The video monitor is transformed into an analyzer which
displays the sound as a graphic.
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Overview
In "Overview" mode, you can view the whole
arrangement and you are also able to access any object
you want in a split second; zoom in directly to the video
monitor or move around the clip displayed in the
arranger.
Infobox
"Infobox" mode shows help text in the preview monitor if
you hold the mouse pointer over a button on the screen.
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Mouse modes
MAGIX Music Maker 16 Premium offers special mouse modes for
arranging and editing objects.
A small arrow next to the mouse pointer symbol allows different
modes to be set.
Move selection
This is the preset mouse mode in which most changes are
made.
Select objects by left clicking them. When the "Shift" or "Control"
keys are pressed, multiple objects can be selected.
Hold down the mouse button to move selected objects.
In this mode the objects can be faded in or out or their lengths can
be changed using any of the five handles. Please refer to the
"Arranging objects" (see page 62) section. Right clicking on an object
opens the context menu with the most important effects and settings
available for that specific object.
If an effect curve is active, the curve handles can be selected and
moved. Double clicking on the curve creates new handles.
Keyboard shortcut: Alt + 1
Move to track
This mouse mode behaves basically like the mouse mode for
individual objects, but moving objects
results in all other objects behind the object moving in sync on the
track. This is practical if space is needed at the start of a track, since
all objects can be moved together without moving them underneath
each other.
Keyboard shortcut: Alt + 2
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Move all
This mouse mode behaves in principal just like the "Single
object mouse mode",
but during moving, all objects on all tracks will be moved together
from the mouse position.
Keyboard shortcut: Alt + 3
Automation
This mouse mode is used for drawing the volume and effect
curves (see page 235).
When active, a new curve can be drawn on an object or track using
the left mouse button. The corresponding effects curve can be
activated in the dialog "Dynamic effects editor" (see page 236). This
can be opened with the command "Object automation" or "Track
automation" from the menu "Effects -> Automation" (shortcut: "Ctrl +
H" / "Ctrl + J").
Note: You will be able to edit the object curves or the track curves
depending on whether you have opened the curve editor for the
object or the track. If the editor is closed, then the object curves will
always be edited, even if a track curve is displayed.
Clicking on an object without an activated effect curve activates the
volume object curve for this object. One click on a track without an
active effect curve deactivates this mouse mode again.
Keyboard shortcut: Alt + 4
Draw
In this mode you can insert further similar objects behind an
already loaded object.
Starting from the first object, the following objects are always inserted
synchronously so that you can also think of this mode as the insertion
of a "Mute" automation from a continuous loop. You can read more
about this in the section "Drawing in loops (see page 67)" in the
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chapter "Arranging objects".
Keyboard shortcut: Alt + 5
Split
You can split objects quickly with this mouse mode in order to
remove unwanted parts or attach various effects to parts
of objects.
Keyboard shortcut: Alt + 6
Stretch
This special mode is for customizing the length of objects.
Objects can be stretched and warped using the lower object handles.
The duration of the audio material is therefore lengthened via
timestretching without changing the pitch. The middle object handles
allow the object's pitch to be changed using pitchshifting in the range
of -7... +7.
Keyboard shortcut: Alt + 6
Preview audio
This mode allows you to preview audio objects (as long as the
mouse button is held down)
for the entire duration and independent of the start and end markers
in the timeline. Other object types are protected against unwanted
moving.
Keyboard shortcut: Alt + 8
Scrubbing
By holding down the mouse button, the arrangement can be
previewed at the point where the cursor is positioned.
The playback marker follows the mouse movements. This mode is
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especially suited to searching for specific parts of an arrangement.
Keyboard shortcut: Alt + 9
Replace
This mouse mode simplifies searching for suitable samples: Left
mouse click on a MAGIX
Soundpool object to switch the object automatically with another
from the same instrument category. "Shift" + left mouse click keeps
the object but changes the pitch. Ideal for quick experimentation!
Keyboard shortcut: Alt + 0
Context help
This mouse mode allows you to open the corresponding "Help"
section by clicking on any area of the MAGIX Music Maker 16
Premium screen.
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Arranging Objects
In MAGIX Music Maker 16 Premium you can jointly and uniformly
load, arrange, edit, and export different multimedia file formats. This
chapter describes the basic way of working with multimedia objects.
This includes audio objects, video objects, graphics, midi objects,
and synth objects. Later chapters will describe the particulars of the
respective formats.
All object editing is virtual, non-destructive, and is calculated in real
time during play. The multimedia material is thus not destroyed (non-
destructive editing) and any change can be cancelled with the multi-
stage undo function ("Ctrl + Z"). You can experiment to your heart’s
content without having to fear that you will change or damage the
original material.
Save and load arrangements
An "arrangement" is what we describe as any object (audio, video,
MIDI, graphics, synthesizers) together with their positions, fades,
length, volume, and brightness settings, and effects that can be
found in the arranger.
Arrangements can be saved and reloaded as MMM files via the "File"
menu. When loading arrangements, you should make sure that all
objects being used are available in their respective folders. It’s often
recommended to use the function "Backup arrangement…" ("File ->
Backup copy").
Then the whole arrangement, with all its objects and effects, will be
saved to a definable folder on the hard disk and can easily be loaded
from there.
Multimedia files and objects
All multimedia files supported by MAGIX Music Maker 16 Premium
can be previewed or listened to in the File Manager by clicking and
dragging into the arranger via drag & drop. The files are displayed as
objects in the tracks after the mouse is released.
Using the "Tab" button, you can switch between two object display
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views.
In alternative display modes, the objects are not represented frame
by frame, but simplified. This is useful for quicker representations of
video objects: RAM is saved and the overall performance improved.
Audio objects will be shown using one or two (for stereo) waveform
representations.
Right clicking on an object opens the context menu with the most
important editing options available for that specific object.
Select objects
To edit or delete objects using the menus, you must first select them.
To do so, simply click on the object you wish to select. When the
"Shift" key is pressed, multiple objects are selected. Object
modifications like cutting, moving, effects assignment and so on,
apply to all selected objects together.
The handles of selected objects light up to show that the
accompanying object has been selected and can be edited using the
menu functions.
Several objects can be selected quickly by clicking on the first object
in the first track with the mouse and dragging out a square for
selection. All objects entirely or partially within the square will be
selected (rubberband selection).
Mute objects
Each object can be muted individually. To do so, select the objects
you wish to mute and press "F6" (or use the corresponding
command from the context menu).
Build or split object groups
Several objects can be combined to make up a group, to avoid the
objects being unintentionally moved out of relation to each other.
Once they are combined, clicking on one object of a group will select
the entire group.
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To group or separate groups, use the buttons in the toolbar or the
corresponding commands in the "edit" menu.
Split objects
Any object can be split up. Every one of these object parts becomes
an independent object in itself. To cut an object, select the object,
move the start marker to the edit point, and select the "Split object"
command from the "Edit" menu or press the "T" key. It’s even easier
with the "Split objects (see page 61)" mouse mode.
To rejoin the separate objects afterwards, select each of the objects
and choose "Group". This command joins all of the selected objects
into a single object group.
Exact object positioning
It is often necessary to position objects very exactly in order to
maintain the beat or avoid creating clicking during transitions or small
pauses between objects.
In MAGIX Music Maker 16 Premium every object is snapped to the
edges of other objects, resulting in cleaner transitions. In addition,
objects are placed on defined positions on the grid of the arranger
track. You can read more about the grid in the arranger chapter "Grid
(see page 41)".
Duplicate objects
Objects can be duplicated very easily in order to create larger
arrangements. First, the objects that need to be duplicated must be
selected.
Then select the command "Edit menu -> Duplicate objects"
A copy of the object appears right beside the original which can be
moved to any position with the mouse.
It’s even faster if you click on the object that has to be copied and
hold down "Ctrl" at the same time. An object is then created which
can be dragged to the desired position. Furthermore, object copies
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require virtually no additional memory!
Another way to duplicate is by using the copy/edit commands from
the "Edit" menu.
Object handles
With the help of the object handles, fine positioning, volume and
brightness settings, fading in and fading out as well as loops can be
carried out directly in the arranger.
All editing is carried out in real time and is already calculated during
playing. The multimedia material is not destroyed in the process (non-
destructive editing); any change can be cancelled with the multi-
stage undo function ("Ctrl + Z").
Object fades
Use the handles on the top left and right to fade an object in or out.
By fading objects in and out onto different tracks, it is possible to
produce crossfades between different objects. The length of the
crossfading can be directly regulated with the handles.
Shortening or looping objects
Objects are "cut" virtually by "compressing" them with the mouse.
"Pulling" them to the right will stretch them, which results in the
object being played as a loop until the play cursor reaches the end of
the object representation. In this way it is possible to very quickly
create an entire drum track from one single drum loop or to create a
long video from a short video sequence.
Guide the mouse to one of the bottom corners of the object until the
mouse pointer turns into a stretch symbol. Now you can stretch or
compress the object until it has reached the desired length.
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Normally an object is always looped over the full length of the
underlying data material (audio or video file). To set a clip from a file
as a loop, shorten the object at the front and the back with the
handles and choose the command "Edit menu -> Insert user-defined
loop". This function is very useful for setting your own recording as a
loop, as the silence at the beginning of a recording can be cut away.
Adjusting volume/brightness
With the volume/brightness handle in the top center of the object,
you can change the volume of audio and MIDI objects or adjust the
brightness of video and bitmap objects.
If several objects are played in parallel, it is possible to individually
adjust the volume or brightness ratios between objects in this
manner.
The volume and brightness ratios between tracks are adjusted in the
mixer.
"Draw in" loops
Audio loops can be drawn into the arranger tracks with the mouse.
For this you have to set the mouse mode to "Draw objects" by
clicking on the corresponding icon in the mouse modes menu.
Now an audio sample has to be loaded which will serve as a
template and which will then be drawn into the following area
of the track as a loop in the track.
This works as follows:
1. Load any loop from the Media Pool into the arranger.
2. Click on an area further back on the same track and hold down the
mouse button to draw in the loop.
Starting from the first object, the drawn-in loop area is always
synchronous with the beat. This means that the drawn-in loop is not
played from the beginning, but rather starts from the position where
the original loop would be if you had continued to this position. Or, to
put it differently, a running loop can be found on the track and you
can draw in at which position you can hear it ("Mute automation").
The synchronous start of the object in this mode has another
consequence: If an object is moved, then only object borders are
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moved, but the underlying loop, however, always remains intact.
Takes
Every object can be saves as a "take". Takes save all editing done on
an object like object length, fade settings, and all object effects. MIDI
takes save the instrument controlled by them (MIDI output or VST
instrument).
Takes are saved as "TAK" (*.tak) files and take up virtually no space
on the hard disk. So you can cut a sample, add various effects to it,
and save it as various takes in order to use these together with all
their editing in other MAGIX Music Maker 16 Premium arrangements.
The original sample will not be changed, only object and effect
settings will be saved.
You can also save Synth objects (see page 146) as takes to create
your own preset libraries for the synthesizer.
MAGIX Music Maker 16 Premium supplies many takes on content
CDs.
Takes can be identified by their symbol in the Media Pool.
Warning! On loading the takes, the audio or video file, for which the
take was added, must be in the original folder.
Object properties
This function displays all the information about the currently selected
objects, such as file name, position on the hard disk, tempo, etc. The
object editor also defines the foreground and background color of
every object in the arrangement.
In the "Tempo/Pitch" tab, information on the patched/determined
tempo and pitch of the audio object is shown. Furthermore, there is
an overview of how the various timestretching/pitchshifting
operations affect the entire audio object. The tempo/pitch adjustment
when loading the sample, the effect of the master tempo fader, and
the time processor as object effect tracks are offset against one
another, but they may not mesh properly. For this reason, there are
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two buttons which can be used to double/halve the object speed. Try
using these buttons if the tempo of some loops is incorrectly
interpreted as twice or half the speed.
Mixdown tracks
If the arranger becomes too full to manage, the system is out of
RAM, or you just want to ”summarize” your production, use the mix
down function to convert the entire audio arrangement into a single
audio and/or video file.
To do so, choose the "Mixdown" function from the "Edit" menu. You
can choose a name and a destination for storing the mix down
object. The default directory is ”My Projects”. If only audio objects are
in the tracks, a wave file will be created. If audio and video objects
are combined, you can choose whether an audio or a video file will
be created.
The objects of the arranger or the area will be replaced by the new
object.
MAGIX Music Maker 16 Premium automatically normalizes the audio
file, i.e. the loudest part of the wave audio object is identical with the
highest figure of the 16-bit resolution ceiling. This guarantees the
same sound quality, even if you repeat the mix down procedure or
you combine the mix down file with other wave audio objects again
and again.
Tip: The mix down function is very helpful if you want to go on using
the mix down object. To create the finished end version of the song
or video it is recommended to select the "Export arrangement"
function in the "File" menu instead of the "Mixdown" function.
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Audio Objects
Audio formats
MAGIX Music Maker 16 Premium loads and edits audio files in the
formats Wave (.wav), OGG Vorbis (.ogg), Windows Media Audio
(.wma), MPEG (.mpg), MP3 (.mp3) and CDA (audio CD tracks). The
stereo or mono data of a file are displayed as an object in the
arranger of the MAGIX Music Maker 16 Premium. The material will be
displayed as a waveform, optically representing the sound to make
editing easier.
Along with wave files, MP3 files, OGG Vorbis (.ogg), and ringtones
can also be exported.
In addition, the Premium version can load and export the Surround
formats (after activating the encoder (see page 320)) MP3 Surround,
Surround WMA and wave (6-channel interleaved).
Load and process audio files
All importable audio files can be accessed via the File Manager and
previewed (audio) by clicking the file name. Tracks from audio CDs
can also be integrated by dragging & dropping them into the
arrangement.
Editing, fine positioning, volume adjustment, fading in and out, is all
processed using the "Object" tab directly in the arranger.
Please see the chapter "Arranging objects"
Smart Preview for the incorporated samples
The incorporated samples can be listened to while the arrangement is
playing. They always run synchronized to the current song that is
playing.
You can load samples while putting together a song in real time and
search for appropriate new "building blocks" simultaneously.
You can add the loop to the arrangement by simply clicking with the
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mouse or pressing "Enter" or remove it by pressing "Del". The
subsequent loop can also be selected quickly by pressing a key
(arrow down) or you can switch to the next instrument ("1"..."0") or
the next bar ("Num +"), or by clicking on the button.
Audio recording
Your own sounds like vocals, speech, noises, or instruments can be
easily recorded in MAGIX Music Maker 16 Premium using the audio
recording function.
Connecting the source for recording
First of all, the source of the audio material must be connected to the
sound card input. Again, there are several possibilities which primarily
depend on the type of equipment you have.
If you want to record material from a stereo system, then you can use
the line-out or AUX out jacks on the back of your amplifier or tape
deck. This involves connecting them to the sound card input (usually
red).
If your amplifier has no separate output (other than for the speakers),
then you can use the connection intended for headphones for your
recordings. In most cases, you will need a cable with two mini-stereo
jacks. This type of connection has the advantage of being able to set
the headphone input signal level with a separate volume. As
headphone connections generally are not the best, it is advised that
you use the line outputs if possible.
When recording cassettes from a tape deck, you can connect the
tape deck's line out directly to the sound card input.
When recording from vinyl records, you should not connect the
record player's output directly with the sound card because the
phono signal needs to be pre-amplified. A more suitable method
would be to use the headphone connection or an external pre-amp.
If you are recording from a microphone, then please connect the
microphone to the microphone jack on your sound card (usually red).
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Adjusting the signal level
Adjusting the signal level to the sound card is also recommend to get
the best sound quality during digital recording.
Once a recording source is connected to the sound card, the
"Record" button opens the recording dialog and starts the recording
source.
You can now adjust the recording level with the help of the LED
display in the recording dialog. For this, you must first check off
"Show levels".
If the adjustment is set too high, distortion occurs and the incoming
signal must be reduced. If you have connected the source through
either an amplifier or tape deck output to the sound card, you can
only reduce the signal level in your sound card’s software mixer
interface. You can access the mixer directly from within the recording
dialog via the “Recording level” button.
If you reduce input sensitivity by using the input fader, the resolution
at which the analog signal is digitized is also reduced. Try to set
these automatic controllers to the loudest sound level possible!
The maximum setting for an optimal level is the loudest part of the
material. The loudest part should be adjusted to be the maximum.
The actual recording begins when you press the "Record" button. At
the end of the the recording you will be asked if you want to use the
recording. Upon confirmation, the newly-recorded material will be
placed in the next free track at the position of the start maker in the
arrangement.
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"Audio record" dialog
Audio driver: Selects the sound card for the recording.
Save audio file as/ save in the following folder: Here you can select
the title of the audio file you wish to record. You can also select the
folder where you wish to store the file.
Recording quality: Sets the sound quality of the recording. In the
preset menu you can choose between medium wave radio ("AM
tuner"), UKW ("FM Radio"), DAT (Digital Audio Tape) and CD quality.
Peakmeter (Monitor): Using the peakmeter, you can monitor the level
of the incoming signal. Please read more on this in the chapter
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"Adjusting levels" (see page 71)
Recording: This button starts the actual recording.
Stop: Click this button to stop recording
Normalize after recording: With this option activated, your material's
volume is raised to a proper level after recording is completed. In
order to achieve good results, you should try to record the source as
loud as possible without overmodulating it. To do so, refer to the
peak meter reader in the recording dialog.
Playback while recording: This option is particularly important for
spoken commentary, etc. If activated, the selected movie (or selected
scene if recorded in the "Edit" screen) is played while recording. This
acts as orientation for the movie.
Advanced: Use this button to open a window where you can select
from special features:
Advanced options
• "Mono" creates a mono recording and requires half of the hard drive
space required for stereo.
• "Real-time sample rate adjustment" automatically matches the
sample rate of a new file to be recorded with the sample rate of the
selected movie sound track.
• "Ducking" (reducing the sound volume): To add narration or other
sound material to a video that already has sound volume levels set,
activate the option "Automatic reduction of sound volume of
remaining audio tracks". This automatically reduces the volume of
audio objects in the arranger during the recording session
("ducking"). A volume curve controls the whole process, produces
the fading in and out of effects automatically and guarantees
consistent overall volume.
Import audio CD
The steps are similar to transferring wave files into an arrangement:
• Insert an audio CD into the CD/DVD drive of the PC.
• Go to your CD/DVD drive in the Media Pool. The individual CD titles
appear in the file list.
• A single mouse click starts the playback of the CD title for
prelistening.
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• Drag & drop the CD title into a track in the current arrangement and
the song will be grabbed and copied to the hard drive. The files will
be saved in the "Import" directory ("Program settings -> Folders")
• The audio object appears in the track and can be played back or
edited immediately.
A special program is used for digitally importing the audio data from
the CD/DVD drive. Some drives do not support this mode (an error
message will be displayed) or support will only be of low quality (the
audio objects will contain crackling).
If this method does not yield a satisfactory result, you can open the
CD manager via the menu command "File -> Read tracks from audio
CD". This option opens the CD manager where you can select tracks
from audio CDs and import them into the arrangement. You can also
select the drive if you have more than one and adjust the import
settings.
If this is also unsuccessful, you can also play the CDs using the drive
and record them with the sound card. More can be found in the
"Recording audio CDs" (see page 78) section.
CD Manager
This option opens the CD manager to select tracks from audio CDs
and partially or fully import them into the arrangement. You can also
select and configure the used drive if you have more than one drive.
The CD manager lets you import audio data using most CD and DVD
drives. You may have to contact your technical support to find out
which drive is suitable. The data is imported digitally, thus eliminating
loss in sound quality. Audio tracks are imported into the arrangement
as Wave files. The files are saved in the import folder ("File ->
Properties > Program settings -> System -> Path settings").
To import audio tracks via the CD manager you should proceed as
follows:
1. Insert an audio CD into the drive and select "Import audio CD
track(s)" from the "File" menu. A dialog with a list of the CD tracks
will open. If you have more than one drive, you may have to first
select the drive containing the CD. You can do this in CD drive
options.
2. Select the desired tracks (multiple selection by "Ctrl" + mouse-
click).
3. Click on "Copy selected track(s)...".
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4. The "Import project" dialog will now appear. Here you can enter
the file name and select the target directory.
5. The audio material is then copied from the drive onto the hard
disk. A progress bar is displayed.
6. Once copying is complete, the dialog will be closed and the tracks
are inserted into the arrangement as individual objects.
The track list dialog
On the left-hand side in the list you can choose which track(s)/title(s)
you wish to import from the CD. Several subsequent tracks can also
be selected by holding "Shift" and left-clicking; "Ctrl" + clicking
selects several tracks; "Copy selected track(s)" starts the audio
copying process. A new object is created for every track in the
arrangement and the corresponding track marker is created.
Transport control: This lets you start
and stop playback just like on a real
CD player and skip forward and
backward in the playlist.
Use the small faders to control the preview volume. With the faders at
the bottom you can go to a specific position in a track. To import just
one section of a CD track, choose "Start selection" at the beginning
of the section and "End selection" at the end.
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Below the transport control details on the total length and the
memory capacity of the selected track/section are displayed.
Select all tracks: All tracks are selected, for instance, to copy the
entire CD.
In the right selection box you can select the read speed, and in the
left one you can select the export mode (see Configuring the CD-
ROM).
CD drive options: Here you can change the settings and select the
drive for grabbing the CD if you have installed several CD drives (see
also CD-ROM drive dialog).
"Import project" dialog: The "Import project" dialog appears after
you have selected the option "Copy selected tracks". Here you can
specify name and target address of the audio files. The audio files are
subsequently numbered (name -> name_1.wav, name_1.wav).
Copy-protected audio CDs
According to the copyright act, it is forbidden to copy a CD with copy
protection. However, an owner of a CD may create a backup copy
for himself. The problem is, however, that you cannot create a copy
from copy-protected CDs because they cannot be read using a
conventional PC drive. In order to create a backup of such a copy-
protected CD, you have to play it on an audio CD player and record it
as a regular analog recording via the sound card.
Drive list dialog
Tracklist: This button opens the track list dialog for copying one or
multiple tracks.
Configuration: This button opens the configuration dialog where you
can make various special settings, SCSI IDs, etc.
Reset: Restores the default settings of the drive.
Add drive: Creates a new drive entry in the list, which you may wish
to adjust.
Delete drive: Deletes a selected drive from the list.
Save setup: Saves the current drive list and all configuration data in a
*.cfg file.
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Load setup: Loads the current drive list and all configuration data
from a *.cfg file.
The CD-ROM configuration dialog
Drive name: Lets you edit the name of the drive in the list. This is
useful if you create more than one entry accessing the same physical
drive.
Host adapter number: Lets you specify the number of your SCSI
adapter - normally "0".
SCSI-ID: Lets you set the ID of your CD-ROM drive. Be sure to set
the correct ID; there is no error checking!
SCSI-LUN: Select the SCSI-LUN parameter, normally "0".
Alias: Lets you select the manufacturer type of your CD-ROM drive.
Normal copy mode: Copies the audio data without any software
correction.
Sector synchronization copy mode: Copies the audio data using a
correction algorithm. This is especially useful, since many CD drives
have problems finding an exact position again and gaps can occur.
Burst copy mode: Optimizes the speed of the copy process; no
software corrections made.
Sectors per cycle: Defines the number of audio sectors that should
be read from the audio CD in a read cycle. The higher the number of
sectors, the faster the copying process. Many SCSI systems have
problems with more than 27 sectors.
Sync sectors: Sets the number of audio sectors that will be used for
software correction. A higher number results in a better
synchronization but also in a slower copying process.
Recording Audio CDs
In some cases the CD can be copied during recording. The CD track
is simply played on the CD/DVD-ROM drive and recorded by the
sound card. You should note that the digital track data from the
digital analog converters of the CD-ROM drive have to be converted
into analog signals and then into digital data by the analog/digital
converters. Depending on the quality of the converter used, this can
lead to losses in quality.
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Before beginning this, the "Load tracks via record dialog" option
under "File -> Properties -> Program settings -> Audio" has to be
activated. The audio output of the CD-R drive must also be
connected with the input of the sound card. This is already the case
with most multimedia PCs (if not, then it can be accomplished with a
small cable inside the computer).
When "Load CD tracks via record dialog" is active, song parts can
also be added to the arrangement without having to load the entire
track.
Change the playback tempo or pitch
If you want to combine audio material you have recorded yourself
from different sources, samples from Soundpools, or songs from CD
with each other, then you will often need to adjust the tempo or pitch
of audio objects to match each other. There's an automatic function
which automatically adjusts the tempo of audio objects when they are
loaded to the arrangement's tempo, plus advanced tools like the
Remix Agent and the Loop Finder (see page 299).
Automatic tempo adjustment when loading
In general, MAGIX Music Maker 16 Premium automatically adjusts
audio files to the arrangement tempo. In normal cases, you won't
need to worry about the different tempo of audio files and Soundpool
samples, since these are automatically matched. But since automatic
processes can fail too, the following process explains when you may
need to "manually" adjust things.
In the new arrangement (empty), the tempo will be determined by the
first samples loaded into it. All additional audio files will then be
automatically adjusted to this tempo. If you are planning a remix
which is composed of different samples with different tempo, then try
to add the most important sample first. This minimizes sound
distortions compared to the other samples via timestretching.
In order to be able to correctly adjust an audio object to the tempo,
its output tempo must first be detected. If the sound is a Soundpool
sample, then the tempo saved therein ("patched") will be used, and
the tempo adjustment will always work.
For all other (short) samples, an attempt will be made to automatically
provide the tempo. If the sample is not cut exactly, i.e. it does not
contain an exact number of beats or is incorrectly interpreted by the
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automatic detection process, then this may not work. The sample will
then be incorrectly stretched or an incorrect arrangement tempo will
be set.
In this case, use the Loop Finder to specify the tempo semi-
automatically (more about this under the chapter "Menu effects ->
Audio -> Loop Finder (see page 299)"). This allows the sample to be
cut to an even loop and the arrangement will adjust to the detected
tempo or vice versa.
The Remix Agent launches optionally for longer samples ( >15
seconds), e.g. entire songs from CD or MP3s. This also gives you the
option of either adjusting the sample to match the arrangement or the
arrangement to the sample.
MIDI objects for controlling synth objects always have the correct
tempo because they are always aligned with the arrangement tempo.
In the dialog "Program settings (see page 283) -> Import" ("Y" key),
you can deactivate the automatic tempo adjustment or limit it to
patched samples.
Change tempo or pitch of individual objects manually
"Resampling", "timestretching", and "pitchshifting" provide high-
quality effects for you to change the pitch and tempo of selected
audio objects dependent on or independent from each other. You
can access these tools via the "Effects" menu or the object FX effects
tracks.
These functions can be used for all audio files, i.e. for the included
samples as well as your own recordings, CD tracks, CD tracks, or
sounds from the Internet.
The playback tempo can be quickly changed via "Timestrech" mouse
mode, i.e. by compressing/stretching the audio object's lower
handles, in which case the tempo will change but the pitch will not be
influenced (compare with chapter "Mouse mode"). The middle
handles can also be used to change the pitch.
Detailed access can be accessed via the time processor effect (see
chapter "Audio effects -> Timestretch/Resample"). This allows you to
specify different timestretch algorithms for the corresponding object,
since the best results often depend on the respective audio material
and the different algorithms.
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The tempo setting on the transport controller allow the arrangement's
tempo to be changed retroactively. This affects all objects contained
in the arrangement, and in some circumstances this can lead to an
increased demand on the system and dropping out during playback.
If this occurs, use Apply function in the effects rack (see page 169) or
the Combine audio (see page 293) function.
Remix agent: Tempo and beat assignment
The Auto Remix Assistant is a powerful tool that determines the
tempo (measured in beats per minute, or BPM) as well as the timing
of the beats for a song’s quarter notes. This is important if an audio
CD title is imported into MAGIX Music Maker 16 Premium, and you
want to mix in sounds like drum loops, effects, or synthesizer voices.
When to use the Auto Remix Assistant:
• When the tempo of the arrangement must be adapted to the tempo
of the song.
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• When the tempo of the song must be adapted to the tempo of an
existing arrangement.
• When the song is to be cut up precisely to create a remix object
which can then be rearranged as desired.
Requirements for using the Remix Agent
• Songs must be longer than 15 seconds
• Songs must be "rhythmic" (i.e. they can be danced to)
Songs must be in stereo format Note: For analysis, it is presumed
that the song is recorded in 4/4 time. If one of the above
requirements is not fulfilled, the Loop Finder can be used.
If songs longer than 15 seconds are dragged into the arrangement,
the Remix Agent is started automatically. When loading short
samples (< 15 sec) the tempo is specified automatically and some
loops are similarly automatically customized to the tempo of the
arrangement. This also applies to previewing in the Media Pool
(Smart Preview).
This method can be deactivated individually in the audio/video
options ("A" key). You can find out more in the "File -> Properties ->
Program settings" section.
Preparation - Setting the start marker and object end
Before opening the Auto Remix Assistant, you should set the start
marker at the position in the song object in the arranger where you
want detection to start. If the song contains a long intro without
beats, set the start marker after the intro. As a rule of thumb, the
Auto Remix Assistant should always be "fed" dance music.
• The start marker should be set before a quarter note beat or, better
still, briefly before a beat at the start of a bar.
• If the start marker lies before the song object, the object is examined
from the beginning.
• If detection is not performed by the end of the song, the object can
be shortened accordingly with the object handle at the end of the
object.
Automatic Tempo Recognition
When the Auto Remix Assistant is launched, the selected song object
is analyzed and played back. A metronome begins to click according
to the result and lines visualize the positions of the quarter notes
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found in the wave-shaped display.
The following cases are differentiated:
• Position of the start of a measure (the one): red line.
• Position of the other quarter notes (the two, three, and four): green
lines.
• Reliably recognized positions: thick lines.
• Unreliably recognized positions: thin lines.
• When tapped, blue lines appear.
If the tact and tempo information is already present, points are
indicated above the display at the appropriate positions. The
metronome volume can be regulated below and to the left of the
wave-shaped display. To the right, the BPM value is indicated. If a
valid BPM value was found, it is displayed in green.
If the metronome clicks in time with the music, the measure start is
correct. If not, you can correct the tempo manually.
Setting the manual and and Onbeat/Offbeat
If the result is incorrect, you can help the Auto Remix Assistant with a
few mouse clicks on the correction buttons.
There are two possibilities:
On the one hand, the "Tempo correction" list offers alternative BPM
numbers which could also fit with the music. The adjustable BPM
values are detected automatically – the total BPM can therefore
deviate from song to song.
For more difficult audio material, we recommend using the "Tapping
input" mode. Either the "T" key must be pressed or the "Tap tempo"
button must be clicked with the mouse in time with the music. With
repeated tapping of the tempo correction button, one should keep an
eye on the color in the BPM display. In the "unlocked" condition (red),
the tapping is not in time with the music. One should tap until the
"locked" condition is displayed. After a short time, you will hear if the
result is correct via the metronome.
Subsequently, offbeat correction takes place as required. If the
detected quarter note beats lie around the length of an eighth note
(transferred behind the real positions of the quarter note beats), one
or more alternatives can be selected from the onbeat/offbeat
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correction list.
Determining the start of a measure
Next, the starting point of the measure is corrected. The beat at the
start of the measure must always agree with the high tone of the
metronome and/or the red line in the wave-shaped display.
Corrections can be made by tapping; If the start of the measure can
be be heard, tap with the mouse or press the "T" key. Alternatively,
you can also select how many quarter notes the "one" is to be
pushed to back.
If the starting marker was set briefly before the first beat of a
measure, this correction is not necessary.
Note: With all corrections, the metronome and visualization react to
the lines in the wave-shaped display only after a short delay.
Using BPM and beat detection
Now you may select one of the actions to be adapted to the
arrangement song (or vice versa) or cut up the songs at the ends of a
measure.
Save only Tempo & Beat information
Only wave file data is stored. This makes sense if some manual post-
correction is required for determining beat/tempo.
When the data is stored, tempo & beat regulation can be released for
future tempo adjustments or to create object remixes.
Tempo adjustment
Setting the object tempo to the arrangement tempo
This fits the object length to the existing arrangement. Three different
procedures are possible: timestretching, resampling, or audio
quantization.
• Timestretching keeps the pitch of the song constant, but sometimes
the sound quality can suffer.
• Resampling changes the pitch (similar to changing the speed of a
record player), and retains the sound quality of the song as much as
is possible.
• During audio quantization, the audio file takes the tempo
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adjustments into consideration as if the first remix object (see below)
were created and combined immediately into a new audio file. If the
recognition is uncertain, extreme tempo fluctuation may result. It is
particularly important to set the starting marker so that the tempo is
recognized definitely. The advantage of audio quantization is that
small tempo fluctuations in the music balance out. The start of the
measure always agrees with the start of the arrangement measure
and never plays out of time.
Setting the arrangement tempo to the object tempo
The arrangement adopts the detected BPM value. If you would like to
use the cut-up song as the basis for a new composition (e.g. for
remixes), then this option should be active.
Creating remix objects
The song is cut by beat into individual objects. Some applications
may include:
• To produce loops from complete songs which can then be used with
other material. Most importantly, not all remix objects are suitable as
loops. Ideally, less complex material should be used, e.g. drums
from an intro.
• To remix songs, thus changing the sequence of the objects, cutting
or doubling beats or to enrich the song with other loops or synth
objects.
• To mix two songs: If percussion and tempo fit perfectly, can you
blend the songs without "side effects"?
This option can be activated later from the "Object" menu, provided
that the tempo data is stored.
The "Audio quantization" option: Audio quantization fits new objects
exactly in time with the arrangement.
With homemade music, tempo fluctuations are common, and
therefore different measure lengths may result. Nevertheless, so that
the objects fit into the rigid timing pattern of the VIPs, the time
processor is activated automatically and object timestretching is used
to correct the different lengths.
Setting resampling for small corrections: If the necessary
corrections are very small, better quality resampling can be used
instead of timestretching. Afterwards, you should not change the
master tempo any longer, since definite pitch changes may arise.
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Remix objects in "Loop" mode: New objects are set in "Loop" mode.
When extending the object with the right object mouse handle, the
original length of the object is played again and again.
Setting the arrangement tempo to the object tempo: (see above)
Note: Time correction assigned to objects can be subsequently
cancelled if the time processor is called up and edited
("Timestretch/Resample object", or double click on the object to
open the FX racks associated with the time processor).
Cancel: The dialog is closed.
Problems and Remedies regarding the Auto Remix Assistant
Problem: The playback stutters, the metronome is suspended, the
computer is overloaded... (on older computers.)
Remedy: We recommend changing to wave drivers ("P" key,
"Playback parameter" dialog) instead of DirectSound.
Problem: The metronome does not work and there are no lines on
the the wave-shaped display.
Probable cause: The material does not contain beats or the song
contains a passage without beats.
Remedy: The song should be limited in such a way that only rhythmic
passages are contained.
Possible 2nd reason: Inaccurate tapping or a false BPM value has
been entered.
Remedy: Try the tempo correction buttons or tap until the "locked"
condition is attained.
Problem: The metronome sounds inaccurately or is jerky, the lines in
the wave-shaped display are irregular and thinly drawn.
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Remix Maker
The Remix Maker is connected directly to the Remix Agent.
Use it to automatically generate remixes. The loop objects sliced by
the Remix Agent are regrouped according to defined criteria. Simply
choose one of the four "virtual DJs", each of which represents a
different remix style, and set the remix length and structure.
Opening the Remix Maker
1. New song
• Load the new song you want to remix. This should contain clearly
defined rhythms.
• When the song is loaded, the Remix Agent pops up to give you the
option of dividing the song into its structural segments (see "Remix
Agent" above).
• Select the option "Open Remix Maker" from the Remix Agent dialog
box.
• Once the Remix Agent has sliced your song, the Remix Maker is
started automatically.
2. Existing, edited song (in the arranger)
• Load a song arrangement that is made up of loop objects.
• Select one of the loop objects.
• Select "Remix Maker" from the shortcut menu (right mouse click).
3. Long, unedited audio object (in the arranger)
• Load an arrangement containing a long, unedited audio object.
• Select "Remix Maker" from the shortcut menu (right mouse click).
• You are then given the option of generating remix objects.
Presets
Choose one of four virtual DJs with different remix characteristics. We
recommend you try them all out and see which results you like best!
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Remix length
Very short: around 20 seconds
Short: half the length of the original song
Normal: regular length of the original song
Double: twice the length of the original song
Shuffle mode
This determines the selection and order of the objects.
Do not change: The order of the objects are not changed.
Change slightly: A "pattern" (sequence of objects) is either repeated
or the next pattern inserted.
Distant: Objects that are far apart in the original song are placed
close to each other.
Random: The objects are ordered randomly.
Fill mode
A "fill" or "fill-in" is created when the loop object sliced by the Remix
Agent again to produce very short objects that are looped or played
in rapid succession. Fills are used to liven up the regular beat.
None: No fills are included.
Use slightly: A few simple fills are included.
Strong accentuation: Many complex fills are included.
Use randomly: Different kinds of fills are used in a random order.
Loop Finder
The Loop Finder has been developed to find the BPM in short
rhythmic passages, to integrate short loops in an existing
arrangement, or to yield drum loops from short rhythmic passages.
Otherwise, the BPM Finder helps in this regard.
More information under “Effects” menu.
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Harmony Agent
The Harmony Agent is designed to analyze harmonies.
The music track is analyzed first when you open the Harmony Agent.
The Harmony Agent tries to automatically identify the harmonies for
each beat of the music. Thus the right beat information is an
important prerequisite for a properly-functioning Harmony Agent.
During subsequent playback, the detected harmony is played by an
internal generator for verification purposes. You can adjust the
volume with "Volume Generator". "Mute" deactivates the generator.
The transport control controls playback of the music track. The
position slider below lets you quickly move to a certain passage.
Check and correct the automatic harmony recognition
After the analysis, you can manually correct harmonies which were
not correctly identified. Note that major chords are written with
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capital letters and minor chords with lower-case letters.
Left click on the respective harmony symbol in the wave display. Hold
the key if you want to mark several subsequent harmonies. If you
right-click on selected harmony symbols, a menu containing
alternatives will be displayed. The initially recognized harmony is
marked with an *.
If there are no alternatives, you can select the correct "Keytone" or
"Chord" from the "Correction" section of the menus. Use the option
"Replace selected harmony in the entire song" if you are sure that
the incorrectly recognized harmony is not included in the entire song.
A mix-up between major and minor is typical in this case.
Once you are sure that all harmonies are set correctly, click on
"Continue".
Use harmony recognition
Here you can use the information from the Harmony Agent. There are
different possibilities to output harmonies.
• You can create picture objects in the arrangement that display
harmonies graphically in the video monitor and in sync with the
music.
• You can save the information in the audio file. This also ensures that
the harmonies are available later. For instance, if you want to display
the harmony information in the timeline ("Edit -> Display Object
Marker -> Harmony Marker").
• You can choose between different displays of the harmony symbols.
You can use German, English or Roman symbols to name the tones.
Furthermore, you can set the "preceding symbol" to force single
harmony interpretation. With #, all notes are shown as "sharps" (C#,
D#, F#), with B they are displayed as flats.
Text to Speech
This allows you to type in a certain text and have the computer
“speak” the words. Different types of voices are available and the
volume and speed of the speech can be altered. When you are
pleased with the result, you can create a WAV file that can be utilized
like any other audio object in the arranger.
Load text: Here, texts in *.txt or *.rtf formats can be loaded.
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Save text: A text can be saved.
Test: You can hear the result of the text that has been entered.
Voice: Choose from a variety of voice types.
Tempo: This regulates the speed at which the voice “speaks”.
Volume: This regulator controls the output volume.
Format: The quality of the WAV file generated is controlled with this
function.
File: Choose the file path for the generated WAV file.
MAGIX Music Editor
During MAGIX Music Maker 16 Premium installation the audio
recording and audio editing program MAGIX Music Editor will also be
installed.
The MAGIX Music Editor comes with a professional recording
function, lots of additional effects as well as various forms of noise
suppression and editing functions for all kinds of audio material.
To edit an object in MAGIX Music Editor, right click on the object and
select the option "Edit wave externally" in the context menu (or you
can select the object with a left mouse click and select the same
option in the "Effects" menu).
Read more about MAGIX Music Editor in the PDF manual. You will
find it in the MAGIX program group.
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MIDI Objects
What is MIDI?
MIDI files do not contain the actual sounds like audio files, but only
the note control information played by the synthesizer chip of the
sound card. This has several advantages:
1. MIDI files need a lot less memory than wave files.
2. MIDI files can be adapted to any beat (BPM) without affecting the
sound; only the playback tempo is changed.
3. Transposition of MIDI files to other pitches is also easy. When
doing so, a section in a song does not have to be saved in several
different keys. The version in C major is perfectly sufficient. It can
then be transposed to any key by simply clicking the right mouse
button.
4. In MAGIX Music Maker 16 Premium you can use VST instruments
which play the notes contained in the MIDI files.
The disadvantage of MIDI files: The actual sound is not yet set. Only
during playback by the synthesizer chip of the sound card from
external MIDI synthesizers/virtual instruments (VST instruments) will it
be produced. High-quality sound cards or external synthesizers will
sound completely different and better than standard sound cards.
Arrange MIDI objects
Integrating MIDI files in an arrangement:
1. Open a directory containing MIDI files using the Media Pool.
2. Click on a MIDI file – it will be played immediately so that you
don't have to guess which file you want to load.
3. Now drag the desired file into the arrangement – and that's it!
4. An object will appear in which the MIDI notes are shown by dots –
The high notes are dots in the upper section; the lower notes are
the dots further down in the lower section. You can even see the
velocity of the notes. The louder the note is played, the darker it
appears on the screen.
MIDI objects may be arranged, the volume may be modified (middle
handle) or fades (in or out) may be added (top right and left handles)
in the same way as audio, video, or synthesizer objects. Use the
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lower handles to "stretch out" a single MIDI loop to fit it onto a whole
track.
If you do not hear anything on the MIDI file, check the MIDI device in
the "Playback parameters" window ("P" key or "File -> Settings ->
Playback parameters"). Your sound card driver or your MIDI interface
should be set here.
Transpose MIDI
This function in the the context-menu is used to change the pitch of a
MIDI object. Simply enter the number of half tone steps by which the
playback is to be transposed up or down! The transposition is shown
in the MIDI Object in the arranger with "+n" and "-n" (n is the number
of halftones).
MIDI interface and external sound generator
Naturally, MIDI objects can also be played back over a MIDI interface
onto external synthesizers, sound modules, etc.
The MIDI drivers can be set in the playback parameter window ("P"
key or menu "File -> Settings -> Playback parameters").
Convert MIDI objects into audio files
If you use VST instruments, then you won't have to convert these
MIDI objects into audio data before exporting your entire
arrangement, since the sound is created on your computer and can
be processed there.
If you still wish to do so (to free up processing power on your PC, for
example), then switch the desired MIDI track to "Solo" and export the
arrangement. Then add the exported file back into your arrangement
and delete the MIDI objects in the exported track.
All MIDI objects which open external synthesizers via a MIDI interface
(see page 93) will have to be converted into audio objects if you want
them to be exported as well. They only contain control information for
sound reproduction.
For this to happen, the output of the MIDI synthesizer (e.g. the sound
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card) must be connected to the input of the sound card. The MIDI
data can then be played and recorded simultaneously via the record
function. The result is an audio file that can be edited and exported
together with the multimedia files.
Connect external equipment
Interface connection
Please consult your sound card or MIDI interface manual for
information about the correct connection. The most common ways to
add MIDI functionality to computers are:
• Multi-port MIDI interfaces, including separate devices.
• Sound card with built-in MIDI interface.
• General MIDI module or keyboard-integrated interface, usually
labeled “To host”.
MIDI cabling
MIDI inputs/outputs: If your computer has an internal or external
MIDI port, or has a MIDI-capable sound card installed, connect your
MIDI keyboard’s “MIDI out” to the computer’s “MIDI in” (on the
interface, sound card, and so on).
If your MIDI keyboard can generate its own sounds, connect the
computer’s “MIDI out” to the keyboard’s “MIDI in”. If your computer
(or the MIDI device) offers more than one MIDI output, connect any
other sound synthesizers to these. If the computer only has one MIDI
output, you need to connect the second sound synthesizer’s "MIDI
in" to the keyboard’s "MIDI thru" port. A third device can be
connected to the second’s "MIDI thru", and so on. The "MIDI thru"
port always delivers a copy of the signals coming into the device’s
"MIDI in". It is preferable, however, to use a direct connection from a
computer’s "MIDI out" to a device, rather than chaining too many
devices one after the other. Timing problems may occur in the chain
if a lot of MIDI commands are sent in a short space of time. This is
due to the slight delays introduced by each "MIDI in" to "MIDI thru"
transaction. If your computer also features several MIDI inputs, they
can be used for the connection of MIDI expanders.
MIDI local off: If your keyboard features an internal sound source, it
is important that you stop the keyboard from generating sounds
directly from its own keyboard. If you buy a new keyboard that is to
be used without a sequencer and connect it straight to an amplifier,
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you would expect the device to make a sound when you press its
keys. In other words, the keyboard is internally connected to the
sound synthesizer. This behavior, however, is not what you want to
happen when using your keyboard with MAGIX Music Maker 16
Premium. In this scenario, the keyboard is used as the computer’s
input device, and MAGIX Music Maker 16 Premium is sending (i.e.
playing) MIDI information to any connected sound synthesizer, be
they the keyboard’s own sound generator, a sound card, or any other
connected sound module.
If you wanted to control and record another sound module using your
keyboard as the input device, its own sounds would play alongside
those of the other sound synthesizer, which is why the keyboard
must be separated from its own internal synthesizer. This function is
known as “Local OFF”, and is set directly on your keyboard. Refer to
your keyboard’s manual for information on how to do this. Don’t
worry about “breaking” the link between the keyboard and its internal
sound generator – MAGIX Music Maker 16 Premium will act as the
“missing link” in this scenario.
MIDI Editor
In the MIDI editor you can edit MIDI objects. The MIDI editor has
many sub editors, views, sections and tools.
Open MIDI Editor
Double clicking on a MIDI file opens the MIDI piano roll editor for MIDI
recording/editing MIDI objects.
In the center you'll find the piano roll editor (see page 100)in which
the notes are displayed as bars and from which they can be edited
using the mouse. There are various buttons located just above the
piano roll.
Clicking on this button opens the event list (see page 105).
In this list you will find the entire MIDI data of a MIDI object,
even data which cannot be edited in the piano roll section
or the controller editor. You can use the event list, e.g. if
you wish to remove unwanted program switch commands
from imported MIDI files.
Use this button to switch to the "Drum editor" mode (see
page 112).
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You can use this to leave the drum editor and return to the
piano roll section.
A simple click on this button opens the controller editor
(see page 103) at the bottom. There you can edit the note
velocity, pitch wheel, and controller data.
Deletes all MIDI data from the object. Now you can begin
from the start again...
Undo/Redo is, of course, also available for all changes you
make in the MIDI editor.
At the top border, you will also find the buttons for selecting the
editing tools (see page 100), quantization (More Informationen can be
found in the section "Quantization settings" on page 107), as well as
the output (see page 96) used by the MIDI object (MIDI out or VST
instrument).
Select sounds
The sound is produced by the sound card's synthesizer chip, external
MIDI synthesizers, or virtual instruments (VST plug-ins). Each MIDI
object can produce as many sounds as the corresponding
synthesizer offers. The sounds themselves can be specified via the
instrument – regardless of whether it's a virtual VST instrument or a
hardware device.
If there is no VST instrument loaded, the MIDI object uses the MIDI
output for the external synthesizer or for the Microsoft™ Windows®
supplied synthesizer. The MIDI output can be set up in the playback
parameters ("File -> Settings/Information -> Playback parameters").
Select the desired VST instrument from the menu. You can test the
same MIDI object with various VST synthesizers. You can set the
sound of VST instruments in the VST instrument editor (see page
153). You can open the instrument editor at any time by right clicking
on the name of the VSTi.
You can set up the MIDI output channel under MIDI channel. This is
important for VST instruments which can receive MIDI notes on
multiple channels and play several different sounds simultaneously
(multi-timbral).
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Play/ PlaySolo
Play solo only plays the MIDI object for which the MIDI editor is
opened (corresponding with the filter settings of the options menu).
Play all plays the entire arrangement.
Playing instruments with the keyboard
Open the MIDI editor to be able to play software instruments directly
via the computer keyboard. The assignment of the notes to the
computer keyboard is displayed in the following graphic.
"Page up" and "Page down" move the octave up or down.
Step recording via keyboard or controller keyboard
In the MIDI editor, you can also enter notes via so-called "Step input"
using the computer keyboard or MIDI fingerboard. First, activate the
respective button or select the option "Step input" from the MIDI
editor's options menu.
The playback marker shows the scope of the current range where the
entry takes place. Now you can enter MIDI notes step-by-step via
your keyboard. Note length and step length can be specified using
the length quantization value, and the steps via the grid quantization
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values. The most important keyboard shortcut for entering MIDI notes
using step recording:
Tab One step forwards (set pause)
Shift + Tab One step backwards
Ctrl + Arrow up/down Entry range upwards/downwards
Letters and number keys, see
Playing instruments with the
keyboard (see page 97)
Entering notes in the current entry
range
You can enter different notes simultaneously (polyphonic) without
making the playback marker jump. This way you can play chords.
Of course, you can also enter notes in "Step recording" mode using
your MIDI keyboard.
MIDI recording
To record music from a MIDI keyboard, simply activate the "Record"
function by pressing the "REC" button, and start playing. All of the
recorded notes are displayed in the note field. There are several
recording options that you can set using the buttons next to "REC".
Overdub
Normally, new recordings simply replace the existing data. In
"Overdub" mode, the MIDI notes are merged with the existing MIDI
information. You can use the "Overdub" mode to construct a
complete MIDI song take by take.
Cycle
This function loops the MIDI object during recording. For example,
you can listen to the object once or twice before adding your new
material.
Metronome
A MIDI metronome is available to count you in and guide your timing
with metronome clicks. The metronome only serves as a timing
reference; it is not recorded.
Play the arrangement while recording
When this function is activated, the arrangement is played
back during recording.
Notation display, movement, zoom
MIDI data can be edited in three main areas in the MIDI editor.
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• Piano roll (see page 102)
• Velocity editor (see page 103)
• Lists editor (see page 105)
Here various tools are available, e.g. pencil or eraser.
Fundamentally, changes, e.g. moving or deleting notes, always refer
to all selected MIDI events (red) with just a few exceptions. Changes
to the selection in a range always apply to every other range as well.
For example, you can select a group of notes in the piano roll and
then change the velocity of these note groups which modifies all
selected notes simultaneously.
Note display in the piano roll and the controller editor (with velocity
curves)
All of the unselected notes are highlighted in blue. The intensity of
the color indicates the velocity of the note; the darker/stronger the
color, the higher the velocity.
Selected notes are highlighted in red. Again, higher velocity notes are
brighter than lower velocity ones.
Note: You can also customize the velocity color range for selected
notes. To do this, open the graphics file "vel_sel_map.bmp" from the
bitmap directory and modify the color spectrum accordingly.
Current event: This is displayed in bright red and with a red outline.
The properties of the currently selected event are displayed in the
edit fields above the piano roll. An event is "current" when it is
selected with the mouse.
Event display filters
To get a better overview of a MIDI object's events, you can filter
specific events for the display.
A MIDI object can contain events in up to 16 channels and up to 16
MIDI tracks (original track from the imported standard MIDI file). For
example, it's possible to control a multi-output VST instrument using
a single object on several MIDI channels. Notes in the corresponding
MIDI editor can be edited simultaneously or only in one selected
channel within this object.
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There are comfortable viewing options available for this:
• A channel filter ("Options" menu) enables all or only selected
channels to be displayed. Notes in the remaining channels are
grayed out and cannot be manipulated by the selection tool.
Example: The MIDI object includes notes in the MIDI channels 1, 2,
and 5. You can now make all notes in channels 2 and 5 accessible
for the selection and editing tools via the selection of the MIDI
channels in the channel filter by selecting the two channels from the
menu. All unselected, filtered notes in channel 1 are displayed in gray
in the piano editor and the list editor.
Events in the filtered channels can be completely hidden using the
"Hide filtered MIDI data" in the "Options" menu.
• A track filter (also "Options" menu) enables data to be filtered
according to an imported MIDI file in the same way.
• The list editor (see page 105) provides additional display filters that
only function within the list. The display filters are activated by the
playback filter settings (mute settings), but the filters can be set
independently of one another.
Muted events display
Events that lie ahead of the object start point or behind the object
end point (the start and end points are displayed as blue lines in the
editor) are also paler than the un-muted events within the object’s
boundaries. If display transparency is activated, the outside events
are grayed out.
Events above or below the currently visible selection
There are two small red indicators above and below the vertical scroll
bar on the right border of the MIDI editor window. These light up
correspondingly if there are other notes outside of the currently
displayed screen selection.
Piano Roll: Edit events
There are various editing options for notes within the piano roll, as
well as mouse modes. In all modes (except delete) the same
functions also apply to notes when editing them, so that these modes
only differ in behavior when you click on empty areas.
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Editing tools
Selection
(Ctrl + 1)
Lasso: Press and hold down the mouse
button to draw out a rectangular selection
frame.
Clicking on a free range highlights an
existing selection.
Draw
(Ctrl + 2)
A note can be drawn by left clicking. The
beginning and length are set according to
the current quantization settings (above).
Draw pencil
(Ctrl + 3)
Draws a series of notes. The note length
and distances are calculated from the
current quantization settings.
<Alt>: The pitch of the first note will be
applied to all notes drawn that follow it.
Moving the mouse back (to the left) while
holding down the mouse button removes
already drawn notes.
Pattern pencil
(Ctrl + 4)
This mode allows you to draw entire drum
patterns (or melody patterns). If you want
to create a new pattern, you have to select
it first in "Selection" mode and press the
keys "Ctrl + N" simultaneously (or go to
menu "Edit" in the "MIDI/Drum editor ->
Create pattern from selection"). If you have
created a pattern, you can start drawing at
any position. Draw the pattern at the
position of the deepest note of the pattern.
This makes an original pitch sound, but you
can, of course, draw in a different pitch.
If <Alt> is pressed when drawing, the pitch
of the first note will be applied to all notes
drawn that follow it.
Moving the mouse back (to the left) while
holding down the mouse button removes
the notes which were just drawn.
Velocity mode
(Ctrl + 5)
This mode allows you to mark events and
change the velocity values of all selected
events in relation to each other. Absolute
values are entered when you hold the
"Shift" key, i.e. all changed events receive
the same velocity value.
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Erase
(Ctrl + 6)
Dragging the mouse deletes all notes
underneath the eraser.
"Delete" mode can be activated anytime by
clicking with the right mouse button. For
instance, you can use the pencil to insert
new notes when left-clicking and remove
already inserted notes with a right click,
without having to change tools.
Magnifying
glass
(Ctrl + 7)
Left mouse button: Zoom in
Right mouse button: Zoom out
Left mouse button + drag: Zooms in on the
range.
Selecting MIDI events
(Piano roll, velocity editor, list editor, )
Select event Left click event
Add/delete event from selection Ctrl + left click event
Select current event and unselect
all other events
Double click event
Change or set current event within
multiple selection
Left click selected event
Select events from the same line
or area
Click while pressing the "Shift"
key
Selects all notes of the same pitch Double click the desired key on
the keyboard ruler to the left
Selects all notes Ctrl + A (if a pitch is selected on
the keyboard ruler, only notes
with this pitch are selected)
Selects the next or previous note
Arrow keys
As you can see from this list, a simple click is all it takes to choose a
specific event for editing – even from selections containing several
events such as a pattern.
Edit notes with the mouse
If you move the mouse over a note, the mouse cursor will change
and, depending on the part of the note, the following options will be
available:
Change note start time (Grab note bar at the beginning,
note end remains the same)
Change note length (Grab note length at end)
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+
Shift
Set fixed note length for multi-selection: Hold "Shift" and
drag the current reference note longer/shorter – all notes
will have the same length
+
Ctrl
Scale note length for multi-selection: Hold "Ctrl" and drag
current reference note longer – all notes will be lengthened
by the same factor
Move note freely, pitch and start time change
If in "Move" mode "Alt" is also pressed, the note will only be
moved horizontally, retain pitch (in free move mode, hold
"Alt")
If "Shift" is pressed while in "Free draw" mode, only the
pitch can be changed, the position will remain the same.
/ "Ranges for limited moving": If you activate this setting in
the "Options" menu, clicking and dragging in the start
portion of the note only results in a change to the position,
while clicking on the end portion changes the pitch.
Moving and zooming
The vertical and horizontal view or zoom are adjusted with the scroll
bars just like in the project window.
Mouse wheel: Scroll horizontally
Shift + mouse wheel: Zoom vertically
Shift + Ctrl + mouse wheel: Scroll vertically
Ctrl + mouse wheel: Zoom horizontally
Controller editor: Selecting and editing events
The controller editor is located below the piano roll and can be
hidden.
It is opened either with a click on the button below the
keyboard or via "Alt + V".
The velocity values of existing events are displayed as colored bars in
the controller editor, whereby darker and higher bars symbolize larger
values. The bars are located directly below the notes.
The values of all other controllers will appear in controller editor as
ramps. Here, too the height of the ramps and their color intensity
represent the last defined value of each event. The length of the
represented ramps reached to the next varying event. Selected event
ramps are also represented in red.
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Controller Editor Hints
• In polyphonic events, the bars are layered on top of each other,
which can make it difficult to single out specific notes. To edit only
notes with a certain pitch (such as all C1 notes in the controller
editor), click the corresponding key in the keyboard ruler. The key
and the background color of the selected pitch are highlighted, and
only the notes with this pitch are displayed in the controller editor.
• Notes with different pitches (such as all C1, D1 and A1 notes) can be
displayed simultaneously by pressing "Ctrl" while clicking them (or
"Shift" for areas between notes). This is basically a velocity editor
view option. Multiple notes can be selected with a double-click.
• Another aspect of working with the controller editor’s layered
controller bars is that the bar of the currently selected note (mouse
selection/editing) is always on top. To change this, click on the note
you want to edit in the piano roll, or click directly on the layered bars
and switch between the notes with the arrow keys. You can then
change the controller value by clicking on the top third of the red
(current) part of the top bar.
• After drawing controller values with the pen tool, click on an
unselected area and drag the mouse to change several velocity
values in sequence. Move the mouse in a curve to create velocity
curves. Existing (multiple) selections are ignored. This is a great
method for creating crescendos or decrescendos.
Tools
The controller editor has its own tools for editing curves and values.
Controller selection: A click on the menu area of the
button opens a selection menu in which the MIDI
controller for editing can be selected.
Selection: Combi tool also used for value changes as well
as freehand and line drawing.
Click in the upper range of a controller bar to modify the controller
value immediately using the draw function. Clicking in the lower two
thirds of the bar selects the corresponding note which is then
highlighted in red in the editors.
Select multiple controller bar by clicking and dragging or single
clicking a range in the controller editor; individual values can be
selected by clicking within the bar. Selected controller events will be
highlighted red.
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Combi-tool editing options:
• Click on the bar end + drag: The controller value can now be
adjusted by dragging vertically. If you hold the "Shift" key down while
dragging, all of the selected events will be set to the same value. If
you also hold down "Ctrl", then the values of multiple selected
controllers will be changed relative to one another.
• Alt + Drag: This activates freehand drawing; the mouse pointer
becomes a pencil. By dragging in the corresponding controller area,
you can draw in any number of controller curves.
• Shift + Drag: This activates line drawing and the mouse pointer
becomes a cross hairs. By dragging horizontally, you can draw in
linear value curves (ramps).
Freehand drawing: Draws new controller value curves or
individual values by single clicking without dragging.
By dragging backwards, you can correct your curve during drawing.
Shift + Drag with the cross hairs to draw a line.
Draw lines: Uses the line function to insert a transition
between two different controller values.
Hint: If you edit velocity with the draw tools, no new notes are
generated; only existing velocity values are modified.
Quantize controller events
MIDI controller events can be quantized and thinned out; select the
"MIDI functions" menu and the "Quantize/Thin out controller"
command to do this. Quantization occurs according to the
quantization settings (see page 107).
List Editor
The MIDI editor contains an integrated list display of all events with
additional view and edit options. This list editor is opened either by
clicking on the button above the keyboard or using the shortcut "Alt
+ L".
When the list editor is open and ready to receive input, it will have a
narrow red border. This makes it clear that certain functions, for
example, select next/previous event (cursor keys) or the "Select all"
(Ctrl + A) command, only refer to the list.
In the list editor, not only note events but also the MIDI controller and
Sysex messages are displayed. These controllers and messages can
be displayed or even filtered out during playback ("Mute").
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"Note on" and "Note Off" events belong to each note, which are then
selected as pairs and edited ("Note off" events can be displayed and
hidden with a tick in the check box below the editor).
To edit specific events only, the list editor provides a view filter for
each column. These are small check boxes below the columns of the
list editor.
Select a representative event. For example, this could be a note with
a certain pitch. Then click on a display filter for a specific column to
only display events of this type with the selected pitch. All other
events will now be faded out.
Display filters can be combined with one another. This way, when
working with the "Select all" command (Ctrl + A), you can select and
edit all control change events of type 10 (volume) on MIDI channel 6.
Quantize to grid
Small irregularities during recorded playing can be smoothed with the
quantization function. In contrast to this mechanical sounding
sequences can be a little more groovy by applying the "Swing"
function.
Clicking on "Quantize" button shifts all selected
notes to a customizable quantization grid.
All notes are quantized without previous selection.
1/4, 1/8, 1/16, and 1/32 notes and
corresponding triplets can be
selected as starting points (grid)
and lengths.
The Quantize button always quantizes as per the default quantization
(preset: note start time and the length). In "MIDI functions (see page
109) > Advanced quantization", you can access the quantization
modes (e.g. length only or soft Q).
The quantization options enable all types of quantization to be set
more precisely.
Quantization grid ("Snap")
If snap is activated, the notes "snap" to the quantization
values when they are created or edited.
The quantization values are also considered. For instance, the notes
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snap to the corresponding positions within the quantization window.
The snap positions are displayed within the piano roll as a matrix. A
swing quantization is displayed by the different intervals of the vertical
partitions in the piano roll. The grid can be hidden with the "Show
quantization grid" command in the options menu ("Alt + G").
You can deactivate the snap function while creating or editing notes
by holding down "Alt" as you draw them.
Move relatively on grid ("Options" menu): If this option is active, then
notes keep their original intervals relative to the grid and not to the
note start when they are moved; the distance moved snaps to the
quantization value. Use this option if you want to move unquantized
notes a certain distance without disturbing the timing.
Keyboard shortcut: Shift + G
Quantization settings
The quantization settings can be found in the menu "MIDI functions -
> Extended quantization" in the MIDI editor. The dialog with the
settings is not "modal", i.e. you can open it as required and test
certain passages with different settings.
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The selected quantization settings may be visualized in the top of the
dialog. The blue lines indicate the target positions for the quantized
notes, i.e. the snap points. The gray area around this show the
quantization window i.e. the target positions that are affected by the
quantization.
Q-grid/length: The quantization grid and length at which target points
within the beat to which the note start points or lengths (see above).
Q threshold/ Q window: This parameter may be used to slightly vary
quantization by excluding notes from quantization that are very close
to the next quantization value. "Q window" refers to the interval to the
left and right of a grid point; events will be quantized within this
range. Quantization does not take place outside of this window. This
means that events with distance less than the "threshold" or more
then the "window" from the grid point will not be quantized. The
affected target range will be indicated in gray in the dialog graphic.
Swing: Starts swinging, groovy playback (for example, triplet).
Specifies the division for uneven grid points.
• 50 ... “50-50” division: The odd eighths are exactly half way between
the even eighth notes (“even” playing method)
• 67... triplet playing method, 3-2 division
Offset: The value range in this parameter stretches from -100 to
+100. By changing the offset values, you move the whole
quantization grid. Negative values move the quantization to the left,
i.e. forward in time; positive values move to the right i.e. further in
time. The maximum of 100 corresponds with an offset of half the grid
width.
Presentation of blue grid points in the dialog and the grid in the MIDI
editor directly reflects changes to these values.
Humanize: The "Humanize" parameter creates another variation
option, i.e. notes are able to be assigned according to the
randomization principle up to a specific interval to positions around
the exact quantization value. The setting occurs in % of a 16th note.
The value specified therefore determines the possible interval
between the quantized notes and the exact quantization value.
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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 -> Quantization off
The command "Soft Q" command considers the current level value in
the quantization options. The simple quantization command always
occurs at 100%. In this manner, you can always select between
approximation (soft) and a harder quantization without having to
adjust the quantization options every time.
Standard quantization settings: Select from a list of quantization
actions (see MIDI functions (see page 109)) that are listed by clicking
the "Quantization" button.
Reset quantization: All notes are rest to there original positions.
Standard settings: Restores the default values.
MIDI functions
The "MIDI functions" menu contains advanced quantization (More
Informationen can be found in the section "Quantization settings" on
page 107) and editing functions for MIDI notes.
The commands in the "MIDI functions" menu always affect the
selected notes. If no notes have been selected, all functions are
applied to all notes.
Legato: Notes may be sustained until the next note, i.e. legato.
Quantize notes (standard): The standard quantization is applied to
the selected notes. If no notes are selected, then all of the notes will
be quantized. The standard action may be specified in the
Quantization settings dialog (see page 107). The preset is "Quantize
notes (start and length)". This function can be accessed via the
"Quantization" button in the MIDI editor.
Advanced quantization
This submenu contains additional quantization commands.
Start Q: Selected notes will be quantized corresponding to the set
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grid quantization value. Note lengths remain unaffected.
Start and length Q: Selected notes will be quantized corresponding
to the set grid and length quantization values. Hard quantization
always occurs at 100%.
Soft Q: This command considers the current level values in the
quantization options. The simple quantization command always
occurs at 100%. In this manner, you can always select between
approximation (soft) and a harder quantization without having to
adjust the quantization options every time.
Length Q: Selected notes will be quantized according to the set
length quantization value. The start time remains unaffected.
Quantize notes to grid: The end of selected notes will be quantized
according to the set grid quantization value. The start time remains
unaffected, but the note lengths will change.
Reverse quantization: With this command, you can reverse all
completed quantization steps. This functions even after the
arrangement has been saved.
Quantization settings: Opens the selection dialog for the
Quantization settings (see page 107).
Quantize controller events: Allows you to quantize controller events
(see page 105) to reduce their number.
Mute notes (Mute): Mutes and unmutes notes or selected note
groups with a click.
Remove overlaps (polyphonic): Notes may be shortened so that
there no longer are any overlaps. Chords (simultaneously played
notes) are recognized and not corrected, i. e. chords are not split up.
Remove overlaps (monophonic): Notes may be shortened so that
there no longer are any overlaps. Forces monophonic voice leading.
Convert sustain pedal to note lengths: This function converts sustain
pedal controller events (controller 64) into note lengths. All notes
which were started after a "Pedal pressed" event (CC64 > 64) will be
extended to the "Release pedal" event (CC64 < 64), and the pedal
events removed.
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MIDI editor techniques
You can cut-and-paste MIDI notes within the editor and between
MIDI objects. The notes are always inserted at the play cursor’s
position.
Duplicate: The selected notes are copied and inserted after the next
grid point if the quantization grid is active (menu "Options ->
Quantization grid on"), or immediately after the selection if the grid is
inactive.
Create pattern from selection ("Ctrl + P"): The length of the pattern
is quantized if the grid is active. The pattern can be "painted" into the
MIDI object using the mouse mode "Pattern painting".
To directly select notes with a specific pitch, double click on an
empty area in the piano roll editor or in the keyboard ruler.
MIDI Editor shortcuts
Space bar Play/Stop
0 (numeric keypad) Stop on position
Tools
Ctrl + 1 Selection mode
Ctrl + 2 Drawing mode
Ctrl + 3 Drum painting mode
Ctrl + 4 Pattern painting mode
Ctrl + 6 Delete mode
Ctrl + 7 Magnifying glass
Edit
Ctrl + A Select all non-view-filtered notes (piano roll) or
events (list)
Ctrl + Z Undo
Ctrl + Y Redo
Ctrl + I Import standard MIDI File
Ctrl + E Export standard MIDI File
Ctrl + Q Quantize
Alt + Q Quantization options
Arrow top/left Select previous note/event
Arrow right/bottom Select next note/event
Delete, Backspace Delete all selected events
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View / Scroll / Zoom
Alt + L Show/hide list editor
Alt + V Show/hide velocity editor
Alt + G Show quantization grid
Ctrl+ G Grid on/off
Ctrl + F Automatic scrolling during playback
Ctrl + Up arrow Zoom in (vertical)
Ctrl + Down arrow Zoom out (vertical)
Ctrl + Left arrow Zoom in (horizontal)
Ctrl + Right arrow Zoom out (horizontal)
Mouse wheel Horizontal scrolling
Shift + mouse wheel Vertical scrolling
Ctrl + mouse wheel Zoom
Drum Editor
The drum editor is a special display and editing mode for MIDI
objects which control drum instruments. The display is simplified
("Cell" mode) because the note length usually doesn't have any
influence for drum instruments.
Since all pitches control different individual instruments (e.g. C1 for
the kick drum and D1 for the snare drum), specific settings like
quantization grid, volume, or mute and solo can be set up individually
for each pitch. The piano roll's keyboard in the drum editor is
replaced by a row of track boxes like in the arranger, but individually
for each pitch.
If you have to make lots of specific customization to a certain
synthesizer, all settings of each instrument can be saved together in a
so-called "drum map" so that they can be used in other projects with
this synthesizer.
Switch to Drum Editor Mode and back.
After opening the MIDI editor (double click the MIDI object),
switch to "Drum editor" mode by pressing the drum editor
button.
Instead of the piano keys to the left, you now see a list of drum
instruments.
When you switch from "Drum editor" mode back to the normal piano
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roll, you will be asked if you wish to apply mapping or not. If you add
mapping, all mapping settings (which makes a note sound different to
how it is displayed) will be applied to the MIDI object. If notes, for
example, are routed through channel 10 (GM drum channel) via
mapping, the notes will be replaced by corresponding "real" note
events on channel 10.
Cell mode
"Cell" mode serves to improve the overview as it limits the display to
only the most important information, note starting points, and
velocity.
Each time position of a bar is displayed as a row of cells in on/off
states. The note length is not displayed, but rather a unified display
width is used. This way, it all looks similar to the step sequencer of a
drum computer (see Robota (see page 142)).
The set quantization grid can be read from the width of cells. "Swing"
and "Offset" settings of the quantization options are also made
clearer thanks to cells of various widths and by repositioning.
The height of cells displays the velocity of the note. When drawing
new drum notes the velocity can be specified via the vertical drawing
position within the cells. In connection with the "Drum draw" mode,
increasingly loud drum rolls can be drawn in easily.
By clicking on the upper edge of a cell and dragging it vertically with
the mouse, the velocity can be adjusted directly without having to use
the controller editor. In "Velocity" mouse mode ("Ctrl + 5") it's even
easier; all you need to do is click anywhere on the cell.
Drum Editor trackbox
In the drum editor, each individual note has its own trackbox, and
individual settings can be specified for each instrument. When
zoomed out, each trackbox can be increased in size with a simple
mouse click.
S/M: Each individual instrument can be played solo (S) or muted (M).
Note number: The output note from the instrument can be set here.
This can be different to the note currently displayed in the MIDI object
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so that individual drum instruments can be substituted. To put the
display of notes back into the usual order (deep notes at the bottom,
highs at the top), click on "Map" at the top and use the "Sort drum
map" command.
Instrument name: Double clicking on this field lets you rename your
drum instrument.
Quantization options/colors: Use this menu to assign any one
of the eight different colors to the cells of a drum instrument.
The dialog for the instrument's quantization options is also
opened here.
The dialog is the same as for global quantization options (see page
107), but the settings only apply to the individual quantization options
if an individual grid value is set for the note as well.
K Output channel
# Quantization grid, "Glo" refers to the global value (More
Informationen can be found in the section "Quantization
settings" on page 107)
L Note length, # corresponds to the grid value, "Glo" to the global
value
Length of the notation, # corresponds to the grid value (i. e. the
entire cell width), "Glo" refers to the global value of the note
length
V Velocity scaling: The velocity value of each note is multiplied by
the value set here in %.
Scaling is audible, but is not visualized further. The purpose of this
setting is the customization of the volume ratio between the individual
drum instruments. Software instruments usually provide their own
mixers.
Drum Maps
Drum maps specify individual instruments, e.g. bass, drum, hi hat,
snare, etc. An individual output note, MIDI channel, and velocity
scaling can be set for each of these instruments.
The drum map can be set in the drum
editor by clicking the "Map" field.
To split the drum names a "General MIDI" map is used by default. It
may be the case that your synthesizer (regardless if real or virtual)
uses a different mapping setup.
This means that when you play the drum event, the sound you wish
to hear may not be heard (for example, instead of a bass drum, you
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get a high tom). In this case you will have to re-sort your mapping
setup. The settings for individual instruments can be specified in the
trackbox. For more extensive changes we recommend using the
drum map editor. There you can save your drum map as a file.
A project may contain various different drum maps. All drum maps
saved in the project can be selected via the menu. If you require a
drum map from a *.map file, you will have to load it into the drum
map editor first so that if can be shown in the menu. You can edit the
individual drum maps in the drum map editor.
Drum Map Editor
The drum map editor can be used to create and edit drum maps.
The "Drum maps" list on the left-hand side displays all drum maps
which are available to the project. The drum map GM General MIDI is
always available to start off with.
New: Creates a new, empty drum map.
Copy: Creates a copy of the existing map. This way you can quickly
create variations of a drum map with various note allocations which
can then be toggled via the drum editor.
Load/Save: Use this to save a drum map (*.map file). This way you
can use a drum map you created for a synthesizer in other projects
as well. All loaded maps will be displayed in the "Map" menu of the
drum editor.
Delete: Removes the selected drum map from the project.
Use the name field to rename the selected drum map. The settings
(mapping) of the individual notes for each drum map will be displayed
below this in tabular format.
Pitch: This is the incoming MIDI note.
Instrument: Displays the name of the drum instrument, e.g.
"Bassdrum 1".
Grid: If desired, you can set up a grid for the starting point of the
drum events.
Length: In this field you can set the grid for the note length.
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Output note: This is the note value to which the drum instrument (the
incoming MIDI note in the "Pitch" field) should be routed or mapped.
Channel: You can set up an individual channel for each instrument
here.
Quantization options: This opens the dialog for the each instrument's
quantization options (see page 107).
Instrument, grid, length... apply to all: This applies the
corresponding setting of the selected instrument to all other
instruments.
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Synthesizer objects
MAGIX Music Maker 16 Premium delivers many software synthesizers
and synthesizer plug-ins (VST instruments) for creating your own
sound material. The synthesizers are represented either by internal
synth objects that can be arranged together with other objects on the
tracks, or as in the case of VST plug-in instruments, by MIDI objects.
Here is an overview:
Synthesizer Type Use scenario
Atmos Synth object Background noise
Beatbox Synth object Nature and electronic beats
Drum&Base
Machine
Synth object Breakbeats, bass lines
Livid Synth object acoustic drums (complete song
parts)
Robota Synth object electronic drums
Revolta 2 VSTplug-in Synthesizer leads, pads,
sequence figures
Vita VSTplug-in Nature instruments, guitar, bass,
acoustic drums, piano, strings,
horns
VST plug-ins VSTplug-in depends on plug-ins installed
Opening the synthesizers
The software synthesizers can be loaded just like any other objects in
MAGIX Music Maker 16 Premium via the Media Pool. To do this,
open the Media Pool's synthesizer setting.
You will find icons for all available software synthesizers in the Media
Pool. The upper section contains all synth objects; the lower section
displays the synthesizer plug-ins.
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Note for users of older Music Maker versions
This version of MAGIX Music Maker has replaced older technically
outmoded synthesizers with newer, significantly improved solutions.
Other synths were replaced by newer, non downward-compatible
versions.
Arrangements created using older versions of MAGIX Music Maker
may not function properly MAGIX Music Maker 16 Premium for this
reason. MAGIX provides the removed synthesizers as an extra
download.
To download... http://rdir.magix.net/?page=DEPBU7N8R5E2
Synth objects
MAGIX Music Maker 16 Premium contains many internal synthesizers
for creating your own drum patterns, break beats, bass lines, or
ambient noise. The synthesizers are represented either by internal
synth objects that can be arranged together with other objects on the
tracks.
Every software synthesizer can be loaded into the arrangement via
drag & drop. A synth object appears in the appropriate track and the
synthesizer interface opens, and synth objects can be programmed
via this interface. You should also read the sections about the
individual synthesizers.
You can start or stop the playback with the space bar. If the synth
object has a play button of its own (e.g. BeatBox), the plug-in can
start it solo without playing the other arrangement tracks.
If the synth objects melodies or rhythms are programmed, you can
close the the control console and arrange the synth object in the
track. Synth objects are handled like normal objects and can be
edited with all available effects (see page 165), drawn longer or made
shorter using handles, or have their volume adjusted.
The interface of any synth object can be opened for further editing by
double clicking it. In addition, any number of synth-objects from the
same software synthesizer be dragged onto the track and
programmed separately. You can also split up synth objects.
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BeatBox 2 plus
Note: BeatBox 2 replaces the older BeatBox from previous versions
and is not compatible with them. Please read the notes for users of
older MAGIX Music Maker 16 Premium versions (see page 118).
BeatBox 2 is a 16-voice drum computer with hybrid sound synthesis
and a step sequencer. The proven handling concepts of the "old"
BeatBox like matrix programming with auto copy have been
expanded with comfortable editing of velocities and significantly
improved sound synthesis, including a multi-effects section (one
effect per drum instrument).
A drum sound is created in BeatBox 2 using a sample (analogously to
the old BeatBox) which is combined with a synthetic sound that can
be created using up to three different synthesis models (hybrid sound
synthesis). BeatBox 2 plus enables detailed editing and automation of
all sound parameters.
There are two styles of interface in BeatBox 2. While closed, you can
listen to included sounds or those you've made in BeatBox 2 without
using too much window space.
Only the most important control elements are displayed when the
program window is minimized.
Volume controller: Controls the volume.
Peakmeter and preset name: The peakmeter lets you visually
control BeatBox 2. Click on the triangle beside the preset name
to open the preset list.
Next/Previous preset
Save preset: The preset includes the drum kit in use, the
pattern, and any possible automations (see page 124).
Play/Stop: The playback controller in BeatBox 2 starts BeatBox
without playing the arrangement, too.
Edit button: The edit button opens BeatBox 2 for you to
program your own beats and sounds.
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Maximized BeatBox 2 plus window
Drum kit: This section loads drum kits (collections of different
drum instruments) and the individual drum instruments.
Selected drum instrument: The settings in the synthesis
section (6) and velocity/automation (5) always affect the
selected drum instrument.
Pattern editor: Programs the beat sequence. In the top part,
different patterns (sequences) can be loaded and saved as well
as different settings for the view and function of the pattern
editor. The matrix is where the beat is programmed: One line
corresponds to a drum instrument, and a column matches a
specific time position within 1-4 beats. If a cell is clicked on,
then the respective drum instrument will be triggered at this
position.
Velocity/Control: This section has two modes: Velocity and
Automation. The setting Velocity displays the velocity levels for
the selected instrument's beats as a column. The Automation
set up allows automation to be set for sound parameters in the
synthesis section (6).
Synthesis: The selected sound parameters and effects settings
for the selected drum instrument can be edited here.
In the following, the sections of BeatBox 2 will be discussed
individually:
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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.
Select drum kit: Use the <> buttons to switch 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. By changing the drum kit, you can add an
entirely different sound to the rhythm you have already created.
Save drum kit: Use this button to save the current collection of
drum instruments as a kit.
Drum kit list: Click on the arrow right of the name to open a
complete list of available drum kits.
Select drum kit: The arrow buttons function analogously to those
of the drum kit. The sequence of drum instruments in the kit can
be resorted via drag & drop.
Mute/Solo: The "solo" button switches a drum instrument solo,
i.e. all other instruments which are not "solo" will be muted. The
"mute" button mutes a drum instrument.
New drum or effect sounds can by added to the current drum kit by
drag & drop from Windows Explorer. Drag a wave file to a drum
instrument to create a new drum sound based on this sample.
BeatBox 2 copies the sample into the sample folder to make sure
that the instrument or kit created can be used again later. You can
drag a complete folder with wave files to the drum kit to create a kit
based on those samples.
Context menu
Right clicking a drum instrument always opens a context menu:
• Copy/Paste: Copy an instrument from a track and paste it to
another one.
• Empty instrument: An empty instrument is added. No sound is
played, it has no name, and is used to clean up an unused track.
• Default instrument: The standard instrument is added. It has the
standard parameter for all synthesis shapes and serves as the
starting point for your own sounds.
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• Reset automation: BeatBox 2's own presets contain automations.
These are dynamic sound parameters like filter curves or pitch
changes. This command allows you to completely remove these for
the selected instruments.
Pattern editor buttons
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 can be selected via the
corresponding number button. Use the “Follow” button to
select follow mode, i.e. the step display follows the steps of the
currently played beat. All shows all bars of the pattern.
"1>2-4" Auto copy: If more than one bar is set as the pattern
length, "Auto copy" mode makes sure that the drum notes set
in the first bar are automatically placed into the next bars. This
also makes it easy to create a continuous beat, even with a
loop length of four bars. Notes set in the bars further back are
not affected by the "Auto draw" function, which, for example,
makes faint variations detectable only in the fourth bar.
Bars: The maximum length of a drum pattern is four beats. The
length can be selected via the small scroll bar.
Shuffle: This controller changes BeatBox 2's timing. If the fader
is turned to the right, the eighth of a rhythm is played more and
more like a triplet. If that sounds a bit too abstract – simply try it
out, ideally with a pure 1/16 hi hat figure; you'll soon see what
the shuffle fader is capable of.
Grid: Here you can set the time resolution of the BeatBox. You
can choose from 1/8 notes (only for very simple rhythms), 1/16
(default), 1/32 (for more refined constructions).
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Pattern editor - matrix
This is the heart of BeatBox. A click on any position in the drum
matrix creates or deletes drum notes (events). Clicking and dragging
draws in a series of notes. Together with the velocity editing options
(see page 125) (velocity), you can easily create drum rolls.
If "Shift" is held when you click on notes in the range, a rectangle can
be drawn out which selects the notes contained within this rectangle
(lasso selection). Selected notes can be copied by dragging them to
a new position. If "Ctrl" is also held down, then existing notes will
remain at the target position. Delete all selected notes by right
clicking.
Two special commands are available for selection:
Shift + double click Select everything in the bar clicked
on.
Shift + Ctrl + double click Select all
A simple mouse click cancels the selection. The selection is
automatically canceled after copying. If you want to keep your
selection, hold down "Ctrl" while copying.
Keyboard shortcuts
Many functions in BeatBox 2 can be controlled with the keyboard, for
example a beat can be triggered with the "Enter" key live in a running
pattern. Here's a complete list of the keyboard commands:
General Key command
Open/Close editor e
Pattern editor - options
"1>2-4" Auto copy a
Follow f
Display bar 1... 4 1... 4
Show all bars 0
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Grid finer/rougher +/-
Selected drum instrument
Previous/Next Cursor up/down
Preview p
Live input Enter
Mute on/off m
Solo on/off sec
Velocity
The velocity mode serves for editing the velocity/automation of the
individual drum notes for the selected drum instrument.
Reset: Sets all velocity levels to 100%
Mode switcher: Switches the section between velocity control
and Automation (see page 124).
Random: The random parameter adds random variations to the
set velocities. This helps make your beats sound more natural.
Amount: No function in velocity mode.
Velocity level: Every set note for the selected instrument is
displayed as a column and can be edited. Multiple columns can
be edited at once; see Editing velocity values and automations
(see page 125).
Automation
Every parameter for a drum sound, including effects, can be
automated, i.e. can change during a pattern. For example, you can
make your snare drums more lively by adding higher voices to loud
hits or by setting accents on individual hits with reverb effects.
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The synthesizer section below enables the selection of
a parameter for automation via the small blue LEDs
above a parameter controller.
More about the parameter controllers in the Synthesizer
section.
Reset: Sets all automation values for the selected parameter. 0.
Mode switcher: Switches the section between velocity control
(see page 124) and automation switched. This happens
automatically during selection of parameters.
Random: The random parameter adds random variations to the
set automation. This helps make your beats sound more natural
because each programmed hit will sound slightly different. The
level of the random parameter is also influenced by the amount
controller (see below), i.e. if the amount is at "0", then the
randomness will have no effect.
Amount: The amount parameter regulates the complete
influence of the automation values and of the random factor on
the selected parameter. An amount of "0" does not have any
effect at all on the automation; maximum level has the greatest
effect. The effects of the amount controller on the automation
values is made visible by a slightly lighter line in the value
columns.
Automation values: The selected parameters can be drawn in
as a column with the mouse. Automation values can also be
drawn between the set notes; the sound of the drum
instrument changes during playback.
Automation values are added to the original value of the
parameters.
Editing velocities and automation values
Hold down "Shift" and select any number of columns for velocity or
automation with the mouse. Two special commands are available for
selection:
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Shift + double click Select everything in the bar clicked
on.
Shift + Ctrl + double click Select all
The "Copy" button copies the selection to the clipboard. If you select
this or that track in another editor, then 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.
The middle handle increases or lowers the values together.
An object can be faded in or out with the handles to the left and right
upper corners of the object.
If you move the handles horizontally you can change the curve shape
of the transition.
A single click in the automation section cancels the selection again.
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Note: A selection of velocity values matches the selection of
corresponding notes in the matrix editor.
Synthesizer
In the lower section of BeatBox, you can set the sound for the
selected drum instrument.
The 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.
An envelope curve ("envelope generator") time-dependently controls
modulations of in all components.The details of the synthesis models
can be read in the section Synthesis models (see page 131).
Preview drum istrument
Save drum instrument
Select sample: A click on the arrow selects samples from the
categories like kick, snare, etc.
Select synthesis mode: Switches between the three synthesis
models.
Mix: Mix relationship between drum sampler and synthesizer.
Parameter controllers: All six sound parameters for a drum
sound can be directly set and automated via the parameter
controller. The parameters in question depend on the drum
sound currently loaded. By clicking the name of a sound
parameter, a menu opens for you to add parameter controllers
to each drum sound's synthesis parameters.
Automation: This selects the controller's parameter for the
automation (see page 124).
Effects section
Each of BeatBox 2's drum instruments includes an effects unit which
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is fed in after the actual sound synthesis and editing. Each of these
effects units includes a series of high-quality algorithms to add "audio
polish" or to place the sound in a production-typical context.
FX on/off
Parameter controller: An effects module includes four
adjustable parameters. The fourth, "Mix", is always available
and the remainder possess a function dependent upon the
selected algorithm.
Automation: This selects the controller's parameter for the
automation (see page 124).
Effects algorithm: Click the arrow to select an effects
algorithm.
The available effects algorithms per unit are described in the
following.
Mono delay (tempo sync / millisec.)
Simple, monophonic delay effect
Parameters
• Time: Delay time controlled by musical measure (sync) or free
running
• Feedback: Repetition
• Damping: High damping of the repetition
Stereo delay (tempo sync / millisec.)
Stereophonic repetition, adjustable separately per side
Parameters
• Left / Right: Delay times, synced or free running
• Feedback: In contrast to mono delay, no repetition takes place in
the middle position of the feedback controller. When turned to the
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left the type of delay is that of the so-called "ping-pong" variety, i.e.
the signal is alternately sent so that is jumps from one channel to the
other. When turned to the right the delay effect is "dual mono", in
which case left and right sides act as two independent time-delay
units.
Chorus
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 by 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 can be understood as the
"base" modulation which is stretched or compressed by the
modulator.
• Rate: Modulation speed
• Depth: Modulation amplitude. Low values modulate only a little,
higher values lead to a clear vibrato.
Flanger
Algorithmically similar to chorus, but different in that the delay time is
significantly lower and delay works with repetitions (feedback). A
flanger sounds more "cutting" and up-front than a chorus.
Parameters
• Rate: Modulation speed
• Feedback: Delay feedback
• Depth: Modulation amplitude
Phaser
A modulation effect just like chorus & flanger, but in this case no
detuning takes placed. Filter components periodically alter the
signal's "phase response" (principle of the "phase shifter").
Characteristic notches are produced in the frequency spectrum
response to create so-called "comb filter effects". The phaser effect
is suitable for pads and "psychedelic" sounds.
Parameters
• Rate: Modulation speed
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• Feedback: Feedback of filter steps
• Depth: Modulation amplitude
Room reverb / Hall reverb
In the case of reverb there are two realistic simulations of natural
reverberation. Sounds receive "atmosphere" and thereby appear
lively and "authentic". Room reverb simulates a small space with high
echo density. Hall reverb mimics the typical reverb of large concert
halls.
Since natural spaces never sound "static" because air molecules are
constantly moving and due to the complexity of reflection processes,
both algorithms include a modulation parameter which varies the
delay time of individual echoes and thereby affects the liveliness of
the reverb impression depending on strength.
Parameters
• Decay: Reverberation length
• Damp: Damping of highs, simulates absorbtion 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. The simulation of early digital
synthesizes or samplers is equally possible since their AD/DA
converters were anything but "true" in the character of their sound.
The sample rate from the output of the lo-fi effect can be
continuously reduced and a generous measure of "aliasing" distortion
can be produced alongside the unavoidable loss of highs which
results from "down sampling". Bit resolution is clearly changeable,
too.
Parameters
• Rate: Sample rate
• Crush: Number of bits
• Low-pass: Low-pass filter at the output to smooth out induced
noise
Distortion
This overdrive effect works similarly to common guitarist effect
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pedals. Everything is possible, from light, bluesy signal saturation to
hard "metal shred boards". Here a dual-band EQ works on the in and
output signals and therefore provides a rich palette of sounds.
Parameters
• Drive: Controls the internal level and thereby the overdrive
• Low: Bass portion.
• High:High portion.
Analog filter 12/24db
Vintage compressor
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 intended for creating all kinds of drum
sounds; the sounds are static and unnatural if the pitch is not altered.
This is why the sampler is combined with on of the three synthesis
models.
Filtered noise
White noise is filtered by two band-pass filters with separately setup
frequencies and resonance. This algorithm is suitable for creating
synthetic snares and high hat sounds.
Phase distortion synth
Two oscillators with regulated phase distortion and thoroughly
variable frequency modulate each other (FM/cross-modulation/ring-
modulation). Depending on the setting, this algorithm can be used to
create kick, tom, or metallic percussion sounds; higher values for
frequency and modulation level produce noisier sounds for high hats
or shaker sounds. Since the oscillator frequency can be set exactly
according to the musical pitch, this model can be used to produce
mass lines or melodies.
Physical modeling
This is a simple physical model of an "abstract" percussion
instrument. A fed-back network of delays is caused to oscillate by an
impulse of filtered white noise (exciter). Depending on the setting of
the exciter, the size of the model (surface), and the damping, a wide
spectrum of natural sounding percussion instruments like cymbals,
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claves, gongs, or triangles can be created.
Multimode filter/Envelope generator
Following the samplers and synthesizers, an inverse filter (multi-mode
filter) is added to add the last bit of polish to the drum sound. The
envelope generator controls all time-dependent processes in the
synthesizer and sampler.
Drum & Bass machine 2.0
The Drum & Bass machine is a dual synthesizer, uniting both distinct
styles of drum’n’bass in one piece of equipment to produce fast beat
crashes and rumbling bass lines. With the Drum & Bass machine you
need no special skills to create authentic sounds for your
drum’n’bass songs.
A tip: The typical speed for Drum’n’Bass is usually around 160-180
BPM. The Drum & Bass machine also fits in perfectly with other
music styles, e.g. bigbeat (120 BPM) or trip hop (80-90 BPM).
Setup
The top half of the synthesizer controls the rhythm section, the
bottom half controls the bass section. Between the two, on the left
side you will see a symbol where both sections can be turned on and
off individually. You can turn off the bass section, for example, so that
you take only the drum section break beat into the arrangement. The
MAGIX Music Maker 16 Premium arrangement mix will then only
include the drum section in the mix file.
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The volume control is on the right border, controlling the volume for
both sections. The play and stop buttons allow you to listen to your
drum’n’bass creations up front in MAGIX Music Maker 16 Premium.
The "Drum‘n’Bass" label covers a menu containing functions to load
and save drum’n’bass patterns (Load machine state/Save machine
state), and functions to delete or generate patterns (Clear all/Random
all). The submenu "Velocity presets" contains some help functions for
programming of the velocity row.
The rhythm section (top half)
You can easily create complex and authentic jungle break beat
sounds. In a professional recording studio, jungle break beats are
created by dividing any given drum loop into several small "bits" and
putting them back together in a different order. This lengthy process
is significantly simplified by the Drum & Bass machine. You just have
to design your own new play sequence.
You set up the new sequence in the top ("steps") row. The blue cells
indicate the individual sections ("notes") for the subdivision of the
loop.
A left mouse click on one of the blue cells allows you to select one of
six possible symbols. Each symbol represents a different note or
other way of playing the note. Every time you click on one of the blue
cells, the next symbol is chosen.
Rely on your own intuition and creativity when programming your
beats. It is not absolutely necessary to know the exact meaning of
each individual symbol in order to create cool and authentic beats.
Summary symbol description:
1: Play drum loop from beginning
2: Play drum loop from the second note
3: Play drum loop from the third note
4: Play drum loop from the fourth note
Backward symbol: Play backwards from this point
Stop symbol: Stops play
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The right mouse button allows you to delete the step cells
individually. The "Clear" button on the right deletes all step cells; the
drum loop is played in its original sequence. The "Random rhythm"
button generates a random sequence. You can then alter the rhythm
as you wish.
By clicking on the blue field in the bottom part of the rhythm section
you open a pop-up menu where you can select the drum loop sound.
If you select a different drum loop, it will be loaded and played as
programmed by you.
In the "Flame" row you can set the note to be played twice quickly in
succession instead of only once, allowing you to program rolls and
fill-ins.
The "Velocity" row allows you to set intensity values between 0 and
16 with the mouse (left mouse click increases value, right mouse click
decreases value). Use the three buttons under the "Velocity" row to
determine how these values will affect the sound of your loop. If you
select "Volume", the velocity value alters the volume for this cell (16 =
loud, 0 = quiet). If you select "Filter", the velocity value alters the filter
strength for this cell (16 = sharp, 0 = muffled). The "None" button
blocks use of the velocity values.
The bass section (bottom half)
The bass section allows you to create the right bass lines for your
rhythm quickly. As in the rhythm row, there are two-step rows.
• With the first "Notes" row, you determine the sequence of the notes,
i.e. the sound sequence.
• By clicking on a cell with the left mouse button, you open a pop-up
window, where you can select the notes.
• By clicking with the right mouse button, you delete a cell.
• If you click on an empty cell with the right mouse button, you will see
a "Stop" symbol. This function is similar to that in the rhythm section,
i.e. it stops the bass sound at this point.
• In the "Octave" row you can determine the bass octave sound.
Octave 1 creates a deep tone, Octave 3 a high tone. You can only
set the octave values if there is a note in the row above.
• As in the rhythm section, there are also buttons for "Clear", "Random
notes", and a red selection field at the top border of the bass
section. The red selection field allows you to set the bass sound.
• Underneath the step rows, you will also find two sliding controls for
sound adjustment. You can use the "Vibrato" control to make the
bass tone "swing" at its pitch. If the control is pushed all the way to
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the right, the swing will be stronger; all the way to the left will have
no effect on the pitch.
• With the "Delay" controller you can set a time for the sound to
completely fade out. All the way to the right makes the sound fade
out quickly (after approx. ¼ second); all the way to the left means
ongoing sound.
LiViD - Little Virtual Drummer
MAGIX LiViD helps you to turn your ideas into songs. Enter a few
basic details and LiViD will play a full drum track, complete with intro,
verses, choruses, fills, bridges etc.; the entire song structure is laid
out for your convenience. Brilliant stereo drum samples recorded by
professional studio musicians and a freely adjustable “Humanize“
function will create an authentic drum feel with perfect sound quality.
LiViD features four styles (pop, rock, funk, latin), each of which is
subdivided into four further substyles, as well as six song sections for
each substyle (intro, verse, bridge, chorus, outro, fill-in).
Scramble: A random sequence of four one-bar patterns is generated
internally for each style/substyle/song section. “Scramble” generates
a new pattern order.
Shuffle: Shifts the second and fourth 16th note of a beat back by a
freely definable amount (100% = triplet rhythm).
Humanize: Randomly shifts all events backwards or forwards, or
leaves them unaffected. Note: these shifts are very subtle and not
always immediately perceptible!
Snare: Sets the snare stick style to “normal”, “side stick” (stick hits
the rim while resting on the skin) or “rim shot” (sticks hits the rim and
skin simultaneously). Exception: the snare’s quietest velocity level (
the "ghost notes") is always “normal”.
Hi-hat: Sets the hi-hat sound to “soft” (fully closed) or to “hard” (half-
open). Exception: completely opened hi-hat (pop, type1, verse).
Ride: Sets the ride cymbal sound to “ride” (cymbal is hit on the rim)
or “ride bell” (cymbal is hit on the bell at the center).
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Robota
The Robota is a four-part drum computer with virtual analog and
sample-based sound production. Virtual analog sound production
means that the sounds are synthesized in real-time, i.e. produced
with a synthesizer to recreate the typical analog sounds of classical
drum computers, such as the Roland Tr-808 and Tr-909, or more
recent devices such as the Korg Electribe or the Jomox x-cousin.
Sample sound production uses drum sound recordings (or even other
recordings) as the basis for sound production.
After selecting the elementary sound production technique, the
sounds of each of the 4 parts (or instruments) can be edited using
modulators.
The step sequencer programmed with incident lighting helps Robota
to play. 4 beats in sixteenths (or 2 beats in thirty-seconds) are
processed as a loop. At each beat position, the playing positions can
be set by clicking a button. In "Event" mode, the instruments are
distributed within the beat pattern. In "Snapshot" mode you can
adjust additional instrument sound settings.
Sound synthesis
The four instruments of the Robota are built identically. Each
instrument can create all kinds of drum sounds – from hissing hi-hats
to phat bass drums.
During elementary sound production, you can choose between an
oscillator with selectable wave shapes (sine, triangle or saw tooth) or
a sample. In addition, you can add a noise generator can be added.
The oscillator has a pitch envelope (pitch env.) and a volume
envelope (attack/decay). It can also be frequency and ring-
modulated. The depth of the modulation can be controlled via an
envelope parameter (Fm/rng dcy). There’s also a “Lo-fi” section
consisting of distortion (Rectify), bit rate reduction (Crush) and
sampling rate reduction (down sample).
Temporal control via an envelope (lofi dcy) will get the best out of the
lo-fi effects. A multi-mode filter (low-pass/band-pass filter/high-pass)
with 12/24 dB steep-side. A comb filter can be inserted. The filter
frequency can be likewise modulated via an envelope. For extra
pressure, an adjustable compressor (compressor, comp resp) is
included, as well as tube amplifier simulation (tube).
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Parameter (1) To simplify matters, not all
parameters can be changed on a sound -
only those that are meaningful for the
selected drum sound may be changed
(snare, kick, high etc.). There are four
selected variable parameters coordinated
exactly with the selected preset sound.
Oscillator waveform (2): The fundamental
waveform of the Oscillators is selected
here. You can choose from
sinus/triangle/sawtooth/sample. If you
have selected "Smpl" you can use the
rotary knob to select a sample, i.e. a
previously recorded drum sound. These
samples are saved in the folder
/synth/robota/samples/. If select custom
samples, they will appear in the selection
list.
(3):For each part you can regulate: Filter
Cutoff, Resonance, Tube, Volume and
Panorama (see page 138).
With select choose the instrument for editing in the step
sequencer.
“M” mutes the instrument, “S” makes it solo
The loudspeaker button allows you to hear a preview.
Master Section
Volume regulates the total volume of the Robota. Distortion adds an
adjustable tube distortion to make the sound “dirtier” and more
powerful. The peak meter helps control the output level – when it
enters the red area, reduce the total volume.
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Schematic illustration of the Robota synthesis
Here is a detailed circuit diagram of a Robota voice with a description
of all control parameters.
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Pitch envelope (pitch env)
Controls the pitch envelope level.
Tune
Tunes the instrument.
Oscillator shape (osc shape)
The shaper adds additional frequency shares to the basic sound of
the oscillator by artificially reshaping the wave shape. A sine wave
(shape = 0) can be reshaped up to a square curve (shape = max).
Oscillator waveform
The fundamental waveform of the oscillators is selected here. You
can choose from sine/triangle/sawtooth/sample. If "Sample" is
selected, you can use the controller to select a sample, i.e. a
previously recorded drum sound. These samples are saved in the
folder /Synth/robota/samples/. If you select custom samples, they will
appear in the selection list. If you are playing your own samples, they
will appear in the selection list.
Noise
Adjust the ratio between the oscillator sound and the noise
generator.
Attack
Adjusts the attack time. The greater the set value, the softer the
attack of the sound. The attack rate is also applied to the lo-fi and
filter envelope curves.
Decay
Adjusts the decay curve. The greater the value, the slower the
instrument will decay.
FM/Ring modulation frequency (Fm/rng frq)
The fundamental frequency of the frequency or ring modulation.
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FM level (fm lvl)
At a low frequency FM first adds vibration to the sound, at high
frequencies and low levels it creates bell-like sounds, as the level
increases metal sounds, and finally noise.
Ring modulation level (rng lvl)
Ring modulation creates typical auxiliary frequencies.
FM/Ring modulation decay (Fm/rng dcy)
Time constant of FM/ring modulation by-product. Only the beginning
of the drum sound is affected by the modulation.
Rectify
Distorts the audio signal.
Crush
Bit rate reduction. Digital artifacts become audible with higher
settings.
Down sample (dwnsmple)
Sample rate reduction. Ideal for creating the "old school sound" of
older digital drum machines. As it is increased, the result becomes
darker.
Lo-fi decay (lofi dcy)
Time constant of the by-product of the three lo-fi effects which
makes the sound "dirty". Only the beginning of the drum sound of the
lo-fi effects is affected if the decay is low. For instance, this makes
the kick of a kick drum sound more interesting.
Filter modes (flt mode)
Filter mode: High cut – sound portions above the cut-off frequency
are filtered out. Band pass (BP) – Sound portions above and below
the cut-off frequency are filtered out. Low cut - All sound portions
below the cut-off frequency are filtered out. This mode is set as a
preset and can not be changed.
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Filter frequency (flt freq)
The cut-off frequency of the filter.
Filter resonance (flt reso)
Filter resonance which increases the sound portions at the cut-off
frequency of the filter. If the resonance is high, the filter itself can also
be used as an oscillator.
Filter modulation -/+ (flt mod -+)
Regulates how much and in which direction the filter envelope curve
moves the filter frequency in which direction.
Filter-Modulation decay (flt mod dcy)
Decay time of the filter curve. Smaller values with high resonance
create a "zapping" sound of the filter, greater values create the typical
sweep sound.
Filter modulation velocity (flt mod vel)
Specifies how much the filter modulation depth depends on the
velocity. If this value is increased, louder beats will generate higher
filter curves than quieter ones.
24 dB
The filter can operate with a slope of 12 dB or 24 dB. This mode is
set as a preset and cannot be changed.
Comb filter (comb filt on)
You can activate a comb filter, a feedback delay that creates
resonance-like sounds comparable to a plucked string. The delay
time and feedback levels are permanently linked fo the filter
parameters (frequency and resonance). This comb filter is set as a
preset and can not be changed.
Compressor
Controls the compressor strength. This lets you increase the "power"
of the drum sound.
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Compressor response (comp resp)
Controls the compressor time. The lower the value, the faster the
compressor follows the volume.
Tube
Controls the level of the tube amp simulation. It "saturates" the
output signal of the voice and adds warmth to the sound if the
settings are moderate. Increasing the settings makes the sound
"dirtier".
Volume/Pan
Controls the volume and panorama position of the drum instruments.
Sequencer
Incident lighting is used to control the drum patterns just like in all
classical drum computers and groove boxes. The step sequencer
consists of 16 individual step buttons with LEDs corresponding to the
appropriate partitioning of a beat:
16ths or 32nds (a half beat is in each case displayed). A button lights
up to indicate the releasing of the instrument at this point in the beat
(= step).
A left click turns on the step, a further left click deletes the step
again.
A pattern can be a maximum of 4 beats long. The length
can be modified using the fader on the button bar.
The beat to be edited can be selected with the applicable “edit”
button. The “Follow” button specifies whether the step of a beat is in
time.
"1 > 2-4" auto draw: If more than 1 beat is activated as the loop
length, the "Auto draw" mode ensures that the drum note set in the
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first beat is set automatically for the following beats. This makes it
very simple to produce a continuous beat from a loop length of 4
beats. Notes set in the rear beats are not affected by auto draw.
How to program a drum pattern:
• Select the pattern length with the fader.
• Select “Event” mode.
• If you edit during playback, turn off “Follow”. Select the beat with
the “Edit” buttons.
• Use “Select” to choose an instrument to edit.
• Use the “Clear bar” button to delete all steps in
the selected instrument.
• Turn on the appropriate step buttons, and use
the “Velocity” controller to adjust the beat
velocity.
• Repeat the procedure with the other instruments
Snapshots
In addition, you can automate programming of the editable sound
parameter of a drum sound via so-called "snapshots". You can
thereby save the sound parameters of a drum instrument on the step
buttons of the sequencers.
Automating the drum instrument with snapshots.:
• Set the edit mode to “Snap”.
• If you edit during playback, turn off “Follow”. Select the beat with the
“Edit” buttons.
• Select an instrument and edit the sound. You can control the sound
of an instrument even when playback has stopped by using the
loudspeaker button.
• Save the sound as a snapshot to one of the step buttons.
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• Change the sound of an instrument and save the settings to other
step button
Warning: The parameters are not changed abruptly but are faded
internally instead, in order to avoid crackling. If two snapshots with
extreme parameter differences are too close together, the drum
sounds will sound differently when the pattern is played.
• Using the arrow keys, you can jump between the
individual snapshots during stopped playback.
• Press “on” to activate snapshot automation.
Groove Control
The secret behind “groove” beats lies in delay. That is, individual
beats are either anticipated or delayed according to patterns. For
example house beats use the “shuffle” whereby straight 1/16s are
delayed at certain times.
In the Robota there are groove velocity and groove swing presets.
Groove velocity presets contain for each step of a beat a certain
offset to increase or reduce the original beat velocity. Groove swing
presets contain for each step a time alignment that is either
anticipated or delayed. The result is a livelier-sounding sequence. The
strength of the effect can be adjusted with the % regulator.
Setups, drum kits, presets, and patterns
A single instrument sound is
saved as a preset.
Presets containing all four
instruments are saved as
drum kits.
All note information plus the
snapshots are saved as a
pattern.
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Together (drum kit + pattern)
they are know as a setup.
Load/Save
Presets, drum kits, patterns and setups can be selected with the
continuous rotary regulators next to the display area. For storing,
click on the “Save” button. Then specify a new name in the input
field. To store, press “Enter”.
Note: A drum kit stores only the names of the presets, not the actual
parameters. If you want to store your own drum sounds that were
created by changing existing presets, you must first store them as
new presets and then as a new drum kit! The same applies to the
setups, which contain only the pattern and drum kit names.
If necessary, always store in this order: preset -> drum kit -> pattern
-> setup. This applies only when creating your own “templates”. If
you store your arrangement normally, the complete current status
(synthesizer + sequencer) of the Robota is always stored and
correctly loaded later with the arrangement.
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Atmos
Atmos is a synthesizer which can be used to easily create realistic
nature sounds in no time. From thunder and lightning to animal
sounds and traffic noise, Atmos helps you design natural-sounding
atmospheric noises for your projects.
• In the upper border window, select the top category "Scenario". You
can select a desired nature sounds category (for example, "Thunder
and Lightning").
• In the middle of the window, a collection of control elements appears
for designing the desired "Ambience". Each element has its own
description (e.g. "Thunder") and two faders, i.e. "Volume" and
"Intensity". The "volume" control adjusts the loudness portion of the
element. The "Intensity" fader controls the behavior of the sound,
depending on controller element. For example, with "Thunder", you
can set how often thunder and lightning should sound; with "Rain",
the strength of the rain can be regulated (if moved to the far left, light
rain can be heard, while if moved to the far right, a downpour with
loud splashing noises is audible).
• At the bottom right border you will find a master volume fader with
which the master volume of the synthesizer can be set. Furthermore,
the "Randomize" setting is also located here. This way you can
change the settings of the control elements by yourself.
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Synthesizer plug-ins
MAGIX Music Maker 16 Premium offers two VST plug-in-based
software synthesizers along with the Vita and the Revolta 2. There
are several differences compared to the other -synthesizers, which
are controlled by synth objects:
• VST instrument plug-ins (see page 152)(VSTi) in general have to
sequencers of their own and are controlled through MIDI objects.
• VST instruments are always loaded onto a certain track, and all MIDI
objects control this VST instrument. The MIDI objects cannot be
moved between tracks freely like synth objects.
• Effects can be applied only on the track level.
But for all this they are much more easier to manipulate in MAGIX
Music Maker 16 Premium due to MIDI control, and sequences can
also be recorded (see page 98) using MIDI keyboard.
The Vita and Revolta 2 VST instruments can be loaded via their
symbol in Media Pool, and all other VST instruments via their
according VSTi symbol. A pre-set MIDI object appears in the
appropriate track with a menu, where you can load different working
sounds of the included plug-ins or access all other installed plug-ins.
You can adjust the sounds of Vita Revolta directly by selecting
a preset sound in the instrument menu of the trackbox.
To learn how to use MIDI objects and the MIDI Editor, read the MIDI
Objects (see page 91) chapter. To learn more about VST instruments
and the VST plug-in editor, please read the VST and DirectX plug-ins
(see page 152) chapter.
Revolta 2
Revolta 2 is a further development of Revolta. It is polyphonic and
playable with up to 12 tones, including an additional noise generator,
a step sequencer, and an extra-flexible modulations matrix. An
effects section with 9 different effects and presets (created by a
professional designer) make it a full-fledged synthesizer for all kinds
of lead, sequence, and pad sounds.
REVOLTA 2 has a whole array of presets. The sounds have been
created by professional sound engineers and demonstrate the huge
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potential of this instrument from the word start. First off, however, we
would like to encourage you to try out the various control functions
and to experiment as much as you like. The sky's the limit to your
creativity.
Revolta 2 interface
Note: The following is only a short description of the Revolta 2
interface.
For a comprehensive documentation of this complex
synthesizer please click the help button on the Revolta 2
interface!
The Revolta 2 interface can be displayed in two sizes. In "Rack"
mode only the elements necessary for preset loading are visible:
By clicking the edit button you can open the complete
interface.
1. Main parameter: Sets the volume, panorama position, pitch
characteristics ("Transpose"), and play modes ("Poly", "Mono",
"Legato"). "Glide" regulates the portamento time.
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2. Oscillator section: Two oscillators are available with smoothly
adjustable curve forms and a noise generator. Both oscillators can be
tuned to each other and used to modulate frequencies.
3. Amp: This is the volume envelope. Here you can influence 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: Here you can switch on different filters to influence the
sound. "Filter type" selects a filter type. "Cut-off" regulates the filter
frequency, "Resonance" controls the strength of the amplification of
the filter frequency. VEL" indicates how much the velocity influences
filter frequency, and "Key" changes the filter frequency depending on
the note pitch ("Key tracking"). The filter envelope (ADSR slider)
influences the filter frequency depending on the time. "Env mod"
controls the strength of the filter envelope curve, and with "drive" the
filter can be overmodulated.
5. FX1/FX2: Here you can mix in 2 different effects out of a total of 9
available effects.
6. LFO1/LFO2/Step sequencer: Two LFOS and the step sequencer
can be used to modulate single parameters of Revolta 2.
7. Options and modulations matrix: The two buttons open the
Revolta options page for general and preset-specific settings and
modulation matrix. In the modulation matrix modulation sources are
connected with modulation targets. Simple modulations like the
oscillator (the pitch will be modulated via an LFO) can be set quicker
directly on the interface. Much more complex modulations are
possible in the matrix because the matrix offers more modulation
sources (e.g. MIDI controller, oscillators) and the modulation source
can influence more targets.
8. Value display: The value display shows the exact value of the
parameter which was just modified. In addition, you can find out the
load of the twelve voices.
9. Preset section: Here you can select Revolta presets. Every sound
can be listened to, and an A-B comparison between two sounds is
also possible (for example, an edited and an unedited sound).
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MAGIX Vita
MAGIX Vita Synthesizer specializes on realistic playback of "real"
instruments for which it uses sampling technology. This means that
short samples of real instruments in different pitches, playing
techniques and volumes are used, combined, and played again at the
correct pitch.
The Vita interface
1. Layer selection/Peak meter: The Vita sounds, also known as
layers, can be selected here using the arrows. Right clicking on the
display opens the layer menu.
2. Main parameter: Sets the volume, panorama position, pitch
characteristics ("transpose") and the fundamental frequency ("master
tune").
3. Amp: This is the volume envelope. Here you can influence 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.
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4. Filter: Switches on a filter which influences the sound. "Filter type"
allows you to select a filter type. "Cut-off" regulates the filter
frequency, "Resonance" controls the strength of the amplification of
the filter frequency. "Velocity" specifies how strongly beat should
influence the filter frequency, and the volume can be balanced using
the "Gain" controller. The filter envelope (ADSR slider) influences the
filter frequency depending on the time.
5. Delay: Switches on an echo effect, "Time" controls the delay time,
"Level" controls the strength of the echo sound.
6. Reverb: Switches on a reverb effect, "Time" controls the delay
time, "Level" controls the strength of the echo sound.
7. Value display: The value display shows the exact value of the
parameter which was just modified.
8. Dynamic range: Usually, the relationship between the created
volume and MIDI velocity is proportional. Since some MIDI keyboards
produce a velocity which is too hard for loud sounds or the other way
around, this behavior can be balanced out with the "MIDI input
curve". The dynamics of the sound can be influenced with "dynamic"
and "dynamic curve", i.e. the relationship between the quietest and
loudest sounds.
9. Voices: Here you can control the amount of voices played
simultaneously. If notes are no longer played during fast passages,
you can increase the amount of voices here (performance will not be
as good).
10. Keyboard: Here you can preview the Vita sounds. This only works
during playback or recording.
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VST and DirectX plug-ins
What are VST and DirectX plug-ins?
A plug-in is an independent program section which can be added to
another program, to broaden its range of functions. Various
standards were developed for including plug-ins. "VST" and "DirectX"
have become the most widely used.
"VST" stands for "Virtual Studio Technology". VST plug-ins offer an
elegant way of copying and making virtual devices that are normally
used in recording studios.
"DirectX" is a Microsoft standard for plug-ins similar to VST plug-ins.
The advantages:
• Purchasing expensive synthesizers or effect devices is no longer
necessary.
• An expensive sound card is no longer necessary for high-quality
recordings from external devices.
• VST instruments and VST/DirectX effects provided by lots of third
party providers are better value or are even made available as
freeware.
The disadvantages: Each of these plug-ins uses up processor power.
The more a plug-in is used, the faster your computer should be. The
required processing power is, of course, also dependent on the size,
state, and complexity of the plug-in.
Use VST instruments
To start using VST instruments, switch to the synthesizer
folder and drag the VSTi Synth into a free track in the
Arranger.
MAGIX Music Maker 16 Premium now shows a list of available VST
instruments. When you do this for the first time, this list is still empty
because you have to enter the path (VST plug-in path... at the end of
the list), in which MAGIX Music Maker 16 Premium should search for
the VST plug-ins and instruments. If you use other programs with
VST plug-ins or if you have already created a folder for your VST
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plug-ins, you can enter the folder here. Once MAGIX Music Maker 16
Premium has created the list, you can select an instrument from it.
You can change the plug-in path at any time. If you have installed
additional plug-ins in other folders, once "identified" plug-ins will be
found independent of the specified path.
Using these instruments can vary considerably. Please read the
corresponding notes of the manufacturer.
VST instruments are controlled via MIDI objects. When loading a VSTi
synthesizer, this MIDI object will be added automatically – it will
appear as a perfectly normal object, like the soundpools. If you
double-click now, the MIDI Editor will open.
For help using the MIDI Editor, please read the "MIDI Editor (see page
95)" chapter.
VST Plug-in Editor
The VST Plug-in Editor can be opened by right-clicking on the
instrument's name in the MIDI Editor, via the corresponding plug-in
slot in the Mixer, or via the "VST Instruments Editor" entry in the
instrument list.
The Instrument Editor has two views, the so-called "GUI" of the plug-
in (Graphical User Interface) and the parameter view. This is either
automatically activated when the VST plug-in does not have its own
GUI or can be used if the GUI of the plug-in is too unclear or takes up
too much space on the screen. The parameter view displays the eight
parameters of the plug-in as sliders. In the File menu you can change
between these views (plug-in dialog/plug-in parameter).
Load/save patch/bank: The instrument settings can be saved and
loaded in the patch formats typical for VST plug-ins (*.fxp) and bank
formats (*.fxb).
Random parameters: This function can be an important source of
inspiration. However, before using it please save the current preset
you've just created as this feature does not ask before it is applied.
Menu program: Here you can select the presets integrated into the
plug-in or loaded via the File menu.
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Deploying VST/DirectX Effects
Track effects
Track effects can be selected and specified in the Mixer. They refer to
all objects in the corresponding track.
Tip: An effect set in the Mixer uses up processing power at every
playback position in the arrangement. Consider whether or not it
would be enough simply to use an effect as an object effect.
Two slots for track effects are located in the channel strip
of the mixer for the corresponding track as well as in the
FX tracks (see page 243).
If you click on the small triangle here, MAGIX Music Maker 16
Premium compiles a list of available effects. Now you can select any
effect from the list.
The list consists of multiple subfolders: Direct X plug-ins, VST plug-
ins, and the MAGIX plug-ins folder for the included plug-ins Vintage
Effects Suite (see page 203), Essential FX Suite, and Vandal SE (see
page 217).
Select "No effect" to remove a plug-in from the slot. Left clicking
temporarily disables the plug-in. Active plug-ins are displayed in light
blue. Right clicking on the slot opens the settings dialog of the plug-
in.
Object Effects
The AudioFX rack for objects has a module in which 2 Plug-In effects
can be employed. It works in the same way as the mixer:
1. Click on the box
2. Wait until the list of available effects is compiled
3. Select effect and configure
Contrary to track effects, object effects refer to the selected object
and require only the requisite computing performance for when the
object is played.
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Master Effects
In the master channel you can find two slots for selecting a master
effect. Often, for example, compressors are used in the master so as
to give the whole signal a more booming and louder sound.Effects
selection here is the same as by the track effects:
1. Click on the box
2. Wait until the list of available effects is compiled
3. Select effect and configure
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Live Performer
The Live Performer (open via the "Window" menu) helps you create
and remix your arrangement. Many sections in the arrangement can
be defined precisely according to the beat and played by pressing a
key on the computer keyboard or MIDI keyboard. With the Live Pads
(see page 160), sound loops or MIDI takes are positioned on the
arranger tracks during playback. This way, MAGIX Music Maker 16
Premium can be transformed into a musical instrument that can be
played directly and intuitively.
Define ranges
To play your arrangement with Live Performer, you must frame
individual area in the arrangement and define them as a range in Live
Performer.
Open Live Performer, define a playback range (see page 42) and then
press the corresponding key on the keyboard (a-k or y) or click on
the corresponding button.
Repeat the process with all desired playback ranges.
The playback ranges will be displayed directly below the timeline.
The ranges can be renamed for better orientation. To do so, please
right click on a range button or the range marker along the timeline
and select "Rename". To delete an assignment, right click and select
"Delete".
To reassign buttons already assigned to other ranges, right click on a
button and select "Assign to current range".
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Play with Live Performer
If this symbol is active, the Live Performer is in playback mode.
If you click the appropriate key on the keyboard or click a button, the
assigned range will be played back.
If you activate a different range, playback will switch to the other
range. The time point of the switch can be determined using the
quantization buttons.
Immediate switch. Warning, this can throw the arrangement
out of rhythm!
Switch after one beat (1/4 bar). Interesting rhythmic
displacements can result.
Switch after one bar.
Switch after two bars.
Switch after four bars.
Switch at the end of the range. The range will be played out
to its end, irrespective of its length.
If the range just played back is shorter as the quantization length, for
example if "switch after 4 bars" is selected for a 2-bar range, the
switch will always be made at the end of the range.
Stop button: The "Stop" button discontinues playback. As
opposed to the normal stop using the transport control of the
space bar, the playback will not be stopped immediately, but
the quantization settings will be taken into account. If "Switch
after one bar" is selected, the current bar of the range will be
played to the end and then the playback will be stopped.
Stop is then also a "range" and can be also programmed in
Sequencer (see page 158), for example for temporary
undefined breaks.
You can also switch between ranges using MIDI command. For this,
see MIDI assignments Live Performer (see page 163).
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Sequencer
By clicking on this symbol you switch the Live Performer into the
Sequencer mode.
Sequencer programming
Above the range buttons the text line will appear for function control
(Sequencer). Enter ranges in the order in which they should be played
back. Corresponding letters will be inserted in the Sequencer. This
text line can be handled as any other text line: Letters will be added
at the position of the cursor (small, blinking vertical stroke), the
arrows move the cursor, and with Del or Back keys entries can be
deleted.
Warning: In playback mode a range will be played as a loop until a
different range is selected, and one letter corresponds exactly to a
one-time playback of the range. If, for example, range D with a length
of 2 bars should be played for 8 bars, DDDD should be entered.
Playback sequence
This starts the sequence. The range play back always
begins at the cursor position (the Sequencer cursor).
A progress bar in the Sequencer shows the position in the
progression where the sequence control is found at the moment.
Currently playing or played ranges are displayed in gray, and the
cursor always moves in front of the next playing range. When the end
of the programmed sequence is reached, this will be repeated from
the start.
You can also enter the sequence during playback. The ranges are
then entered at the end of the sequence.
You can also program the stop button (.). When playback reaches
stop it will be stopped. A repeated sequencer playback start occurs
from the cursor position, or behind the stop. You can thus program a
progression, which stops after each played range (cue list for theater
or a radio play).
Transform sequence in arrangement
Using this button the programmed or recorded Live Performer
sequence transformed into an arrangement.
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A new project is created, which corresponds exactly to the
sequence. This means that the defined ranges of the output project
will be copied one after the other according to the succession and
length defined in the sequencer.
Your current arrangement will be erased, but the Live Performer
ranges will be applied to the new arrangement. This means that you
can continue using the Live Performer unchanged, or you can close it
and further edit the finished arrangement.
Load and save Live Performer ranges
With the load and save buttons next to the Sequencer you
can save and later load recorded or programmed Live
Performer sequences.
A user scenario: Assumed, that you have various performer ranges in
one arrangement and created a sequence. Before putting the piece
together by creating a new arrangement with the "Transform
sequence into arrangement" button, first save the raw material – the
arrangement and the sequence.
If you would like to change a certain sample or transition later in your
"put together" song, you don't have to do it on each spot the sample
is used. Simply load your arrangement, change the respective places,
load the sequence and create your song anew. In this fashion you
can quickly create variations on a piece.
Live Performer recording
Use this button to start the Live Performer recording.
This will record all range switches in your time line made through the
Live Performer. As opposed to programmed sequences, ranges can
be played back only partially, the recording corresponding fully to
your performance.
The precise length of such "partial" ranges can not be changed later
in the sequencer. You can remove them from the sequencer, but you
cannot enter them and can only create them with a Live Performer
recording.
If, for instance, the button for playing the sequence is activated when
the Live Performer is active, the Live Performer will automatically
switch to Sequencer Mode and the recording will be stopped.
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Live Pads
Clicking on the >> button opens Live Pads
Live Pads are a component of the Live Performer. While individual
sections of a previously created arrangement can be rearranged in
realtime in the Performer, using Live Pads you can create your
arrangement live. During playback you can place the samples using
the computer keyboard or a MIDI keyboard inside the arrangement.
This way, MAGIX Music Maker 16 Premium can be transformed into a
musical instrument that can be played directly and intuitively.
Load loops
You can distribute any samples or MIDI takes on two virtual play
consoles (tables) that each have 8 storage slots. The Live Pads can
be filled with audio samples (wav, mp3 or ogg files) or takes (.tak). To
do so, place a file from the Media Pool using drag & drop onto a Live
Pad. With the "Live A" or "Live B" buttons in the Media Pool you can
load several files to one table.
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You can also take an object directly from the arrangement and place
it onto one of the Live Pads. The object will disappear from the
arrangement.
Load Live Pads with takes
Sometimes it is of advantage to load Live Pads with Take files (see
page 68):
• About VSTi software instrument control: Live Pads can also play
back MIDI loops, but for this a VST instrument must be assigned to
the MIDI object (or track, in which this MIDI object is located). This
assignment can be saves together with the MIDI object as a take.
The loops in the included styles that use the Vita or Revolta 2
synthesizers have also been created in this fashion. For this reason
they can be used with Live Pads right away.
• Also the internal software synthesizer (beatbox, drum&base
machine...) can be used with the Live Pads.
• You can add object effects to audio samples. Because during a Live
Pad recording objects can end up on different tracks, using track
effects can be hard.
Takes are created by saving objects as takes (.tak file) (Edit menu
command or right click on object > "Save objects as takes", shortcut
Ctrl + F).
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Play Live Pads
Loops can be played back by clicking on the corresponding Live
Pads using the computer or MIDI keyboard.
Keyboard
shortcuts
MIDI keyboard
Table A (left) 1..8 (using letter
keys)
F3 - C4
(Note number 65-72)
Table B (right) qwertzui C#4 - G#4
(Note number 73-80)
The MIDI driver can be selected via Program settings > Audio > MIDI
input.
As soon as a Live Pad is selected, playback begins.
During playback the corresponding object will appear, and then
disappear again when the Pad is released (during a recording it will
remain visible).
Synch Mode
By default, loops are played in Sync Mode, as if they were all started
at the arrangement start and switched with the pads to
"audible"(Mute Automation). This means that all loops always play in
synch. Use this mode to create a basic structure for your
arrangement.
If the sync mode is turned off, loops will always be played back from
the start, as soon as they "pop up". Use this mode if you would like
to add soli or effect sounds or take apart beats to make break beats.
Record Live Pads.
By pressing the "Write" button you activate the recording of
Live Pads.
During recording objects will be created in the arrangement if the
corresponding Live Pad is activated.
The recording takes place in overdub mode, and once created
objects will not be overwritten.
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Here recording quantization is set. This means, that the start
of an object can be inserted in the arrangement according to
the selected bear grid during recording.
Additional Live Pads buttons
The complete assignment of the Live Pads can be saved with
this button as a "Live Set" (.lms file) to be used later. The
current Live Pad assignment will be saved together with the
arrangement.
With this button you can load your own or ready-made Live
Sets.
Reset: Sets the options back to working settings and deletes
all samples.
MIDI assignment Live Performer
Range Function Note Note number
Live Performer quantization Now C1 36
Beat C#1 37
Bar D1 38
2 bars D#1 39
4 bars E1 40
To end F1 41
Live Performer ranges asdfghj C2-G2 48-55
yxcvbnm, G#2-
D#3
56-63
Stop E3 64
Live Pads 1-8 F3 - C4 65-72
qwertzui C#4 -
G#4
73-80
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Playback control Immediate
stop
H4 83
Play back
Continue
C5 84
Arranging with Live Performer
With the Live Performer and the Live Pads you can create and remix
your arrangement in MAGIX Music Maker 16 Premium.
1. Open the Live Performer and open the Live Pads
2. Fill the Live Pads with samples and takes, which you would like to
use in the arrangement. You can, of course, load more samples
during arranging.
3. Define a range with the length of a song part (for example, 4 bars)
in the arrangement and define a Live Performer range with one of
the range keys. The range will be played back (empty at first).
4. Then, play the Live Pads, until you are sure what should musically
"happen" in this song part. Then start the Live Pad recording and
record the Live Pads for this range.
5. Click into the arrangement, and using the arrow keys you can now
move the current range by the length of a whole range, and
double it or cut it in half with Shift and arrow keys. In this way you
can define additional ranges as song parts for the Live Performer
and fill them with objects via the Live Pads.
6. Now you can switch your song parts with the Live Performer keys.
7. After you have you've figured out all your song parts, switch the
Live Performer into the sequence mode and program your song.
Or start recording of the Live Performer and play your song.
8. Finally, you can change the Live Performer sequence into a proper
arrangement using the "Transform into arrangement" button.
Record audio output
You can record the complete audio output of MAGIX Music Maker 16
Premium directly into a WAV file. The option "Write real-time audio in
WAV file" can be found for this in he "Playback parameter" dialog
(Menu "File > Settings> Playback parameters" or button "p").
If this option is activated, with the next start the complete playback of
the arrangement will be recorded live. With the next stop you can
save your recording and load it for immediate editing in the
arrangement. Use different names to save your single sessions,
ensuring that no recording will be mistakenly erased.
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Audio effects
MAGIX Music Maker 16 Premium offers you a multitude of infinitely
variable and intuitively adjustable audio effects.
Effects
The effects in MAGIX Music Maker 16 Premium allow the sound
spectrum of all of the audio objects and synthesizers to be thoroughly
manipulated. Since most effects operate in real time, the effects offer
ideal room for experimenting with creative sound design.
Real-time effects
Real-time effects are calculated the first time the object is played
back. The audio file (original material) itself remains unaffected. The
effect is recalculated in real time each time it is played back. The
object always retains its original status when real-time effects are
applied.
To change a real-time effect, open the effects rack or the effect's
settings dialog and drag the respective control elements; the changes
will be audible immediately.
The lower edge of an audio object in the arranger lists all currently
active object effects with abbreviations.
Control Effect devices
The effects are controlled in the conventional way by the use of slider
controls, turning knobs, buttons or using graphic sensor fields.
Sensor fields: Sensor fields can be intuitively used with mouse move-
ments, the sound of the audio and the respective effect settings
change according to the mouse movement. For every effect, two
settings are simultaneously affected within the sensor fields (such as
echo delay and feedback).
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Power: Every effects device in the rack can be separately switched
on or off.
Reset: Every effect has a reset button that restores the effect
device's initial default (off). The effect is not calculated into the sound,
and the effect is not rendered.
Preset: Each effects device is equipped with a selection of presets
are selected through the dropdown menu.
Bypass: Some effects are equipped with a bypass button which
bypasses the effects device. The bypass button allows you to directly
compare the neutral, unedited sound of the audio object with the
effects setting you have chosen.
A/B: Similar to the bypass button, the A/B button also compares two
settings with each other. If you have selected a preset for the effect
and make manual changes to it later, you can compare the original
preset sound with the new settings by using the A/B button.
Non real-time effects
A few audio effects are not calculated in real time; instead, after the
settings dialog is closed, copies of the audio material are added for
calculating the effect. This way, no additional calculations will be
required during playback.
To change these effects, use the undo function.
The following effects don't work in real time: Freely-drawn filters,
gater, reverse, invert phase.
Using audio effects
Audio effects can be added at different positions in the arrangement,
at object level, in a complete track, or in the master (i.e. everything
you can hear).
Audio object effects
Object effects do not affect the entire arranger track, but rather
individual objects. The advantage to this is that effects which are only
required at a specific point in the arrangement only use up
processing power at that particular point.
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There are several ways to apply audio effects to individual audio
objects:
1. Drag & drop: In the Media Pool setting "templates", the following
folders are visible "Audio FX", "Vintage FX". These contain presets
for the most important effects. These presets have a preview
function and can be dragged & dropped on an audio object in the
arranger.
2. Right clicking on an audio object or via the "Effects -> Audio"
menu opens individual audio effects via a menu command.
3. Double clicking on an audio object opens the audio effects rack
(see page 168). The most important effects are compiled into one
dialog and some special functions are still available, as is the
option of saving all of the effects settings.
Track effects
Besides the object audio effects, a separate track effects rack with
equalizer, reverb/echo, compressor as well as the Vintage Effects
Suite plug-ins can be used.
There is also a separate 4-channel parametric equalizer
(see page 194) that may be opened via the small EQ
button beside the panorama controller.
The plug-ins are loaded via the plug-in slot.
You can open the track audio effects rack with the FX
button.
A bright blue track effects button signifies that effects are active in
the track.
The track effects can also be applied without having to open the
mixer.
The arranger's trackbox also features the track FX menu.
In it, you will find presets for track effects (see page 167)
sorted according to the instrument type.
Track effects always apply to all audio objects of a track. In
comparison to applying an effect to each object individually, this
saves storage space. The effect itself works the same way as object
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effects.
Master effects
Master effects influence the mixed sum of all audio tracks. For this
purpose a Master Audio Effects Rack and further plug-ins are
installed in the Mixer window. Also included: the special MAGIX
Mastering Suite (see page 193) for perfect sound.
Effects curves
Many effects may be manipulated using the effect curves for a more
dynamic application of the effect. This means that certain effect
settings can be changed during playback. The effect curves are
available as object curves and track curves. Object curves are always
object-related, i.e. they only apply to one object and are moved or
copied together with the object. The track curves are saved on the
track and influence all objects of the track.
To edit the effects curves you can use the "Control effects via curves
(see page 235)" dialog.
Object and master effects rack
The audio effects rack for objects can be opened by double clicking
the audio object. The audio effects rack for the individual tracks or for
the entire sound ("master effect") can be opened via the FX buttons in
the mixer window ("M" key).
Besides the most important effects devices like the 10-band
equalizer, compressor, timestretch/resample (objects only),
reverb/echo, sound warper, and amp simulation, the following
functions are available:
Object Volume
Here you can set the master level for the selected object. With some
effect combinations undesired distortion may appear as many effects
increase frequency ranges. In this case, you can reduce the master
volume.
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The faders for each stereo channel are usually moved
together.
If you deactivate the left button, the object can be made into stereo
panorama by separate volume controlling for left and right.
Load/Save
The current settings for each applied effects device in the rack can
be saved as an effect preset, e.g. so that it can be used for other
objects. Only the rack effects that were used will be saved and
loaded during this process. This means that effects presets can also
be combined.
This function is not yet available for the track effects rack.
FX plug-ins
If external plug-ins are installed on your
computer, you can activate them via the
button to the bottom right. These buttons
also open the effects from the Vintage
Effects Suite (see page 203).
For more information on plug-ins, please read the VST and DirectX
plug-ins (see page 152) section.
Apply (destructive editing)
With "Apply" the current setting of an effect or of an entire effect rack
can be "calculated into" the audio object.
This has the advantage that no more processing power will be
required for the effect. The object will be replaced by a new audio file
which contains the sound of the object with the effect. This will then
only be played – processor-heavy "realtime" effect calculation is no
longer required.
The disadvantage: Changing the effect settings is not a simple any
more. You can undo these "destructive" changes straight after using
the Undo function in the Edit menu (like every editing operation in
MAGIX Music Maker 16 Premium). After saving the project this is no
longer possible.
In the master effects rack there are no Apply buttons. Instead, the
function can be found in the Edit menu (Mixdown audio (see page
293))
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Play object/Play arrangement
To the bottom right of the Audio FX Rack you will
find two playback buttons which either play the
selected object or the entire range. This lets you
preview all effect settings in realtime.
Equalizer
The 10-band equalizer subdivides the frequency spectrum into ten
areas ('bands') and equips them with separate volume controls. This
way it is possible to create many impressive effects, from a simple
boosting of the bass to complete elimination of a certain range of
frequencies. Note: If low frequencies are boosted too much, the
overall sound level is heavily increased which may lead to distortion.
In this event, adjust the overall volume downward by using the
'master volume' control situated at the bottom center of the effect
rack.
Slider control: Each of the ten frequency ranges can be separately
boosted or turned down with the ten volume controls.
Link bands: Using this button randomly combines the frequency
ranges with each other in to avoid artificial-sounding overemphasis of
an individual frequency range.
Touch screen (right EQ section): This is the 'sensor field' of the EQ.
Here you can draw any type of curve with the mouse. This will be
immediately translated into a corresponding control setting on the left
side of the EQ.
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Sketchable filter
This allows you to draw the craziest effects simply with your mouse.
The left side of the graphic represents low tones, the right side high
tones. You can switch on real-time playback by clicking on the "Test"
button.
From now, all changes of the red line can be heard immediately. A
“slope” in in the left graphic causes a strong increase of the bass, a
“slope” in the right side strongly increases the highs. An interesting
effect is to delete a filter curve over an entire area, i.e. setting all the
values in the display to low values). This practically cancels the
sound.
From now on, you will be able to hear all changes in the red line. A
"hill" in the left part of the graphic results in a strong increase in the
bass, a "hill" on the right side considerably increases the treble.
Great effects are frequently achieved if a filter curve is initially deleted
over the entire area (if everything in the display is set to low values).
This removes almost all the sound.
Now, only individual frequency ranges can be made audible in the
upper section of the display with a few clicks of the mouse. This
rapidly turns a normal drum loop into Science Fiction noises!
The filter curve can quickly be reset to its original condition with the
Reset button.
The option “Prevent clipping” attempts to automatically prevent an
over-addressing of the audio material.
The “volume” control controls the volume of the material.
Filter-Sweeps/Morphing
The creation of so-called “Filter-Sweeps” or “Morphing” is also
possible:
1. Activate the “Start curve” button on the far right.
2. A red filter curve for the beginning of the audio material can now
be drawn, e.g. a ‘hill’ in the left half of the display (increase bass).
3. Activate the “End Curve” button.
4. A blue curve for the end of the audio material can now be drawn,
e.g. a ‘hill’ in the lower part of the display (increase treble).
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5. Real-time replay can be started with “Test” – A soft filter sweep
bursts out from the red to the blue curve. Really cool morphing
sounds can be created in this way!
Compressor
The compressor is an automated dynamic volume control. It limits
overall dynamics, maintains the volume of loud passages so they stay
loud, and increases the volume of low passages. A compressor can
be put to good use for bass recordings and vocals, but also as a
master effect in the mixer for subsequent editing of the overall sound.
Processing is carried out using a "look-ahead" method, similar to
high-quality studio appliances. There are no peak overmodulations or
other artifacts, as the algorithm can never be 'surprised' by sudden
level peaks.
Ratio: This parameter controls the amount of compression.
Threshold: Set the volume threshold, below and above which
compression is applied.
Attack: Sets the algorithm's reaction speed to increasing sound
levels. Short attack times can create an undesirable "pumping"
sound, as the volume is quickly reduced or increased
correspondingly.
Release: Sets the algorithm's reaction speed to falling sound levels.
Invert phase
This function moves the object to the rear loudspeakers of a dolby
surround system.
Quite an impressive effect for the audio tracks of video productions.
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Reverb
The reverb effect device offers newly developed and very realistic
reverb algorithms to add more room depth to your recording.
Reverb is probably the most important but also the most difficult
effect to generate.
Fundamentals
Our everyday experience shows that not every room matches every
instrument. Thus we have designed “virtual” rooms. However, it still
remains important to find the correct parameters. Here are some
examples of parameters that are decisive for the sound impression in
real and virtual rooms:
• Size of room: The larger a room, the longer the sound travels
between walls or objects. Our brain “calculates” the size from the
time difference. The size impression is mainly determined from so-
called first reflections and the discreet echo. We don’t notice a
(diffused) reverb.
• The reverberation time is mainly influenced by the composition of
the walls, ceilings and floors. This reverb time is highly frequency-
dependent. For instance, the highs and mids are dampened more in
rooms with curtains, carpets, furniture and some corners than in an
empty and tiled room.
• The density of the reflection: The sequence of the first reflection is
particularly important. A room with many individually recognizable
echoes feels alive, especially if they are quite far apart.
• The Diffusion: Simple reverb machines do not take into account that
reflections become more and more complex as they develop. They
blur the first echoes at the beginning, which sounds artificial and
“two-dimensional” for many signals. Our reverb effect works like a
real room instead where individual echoes can still be heard at the
beginning of the reverb but then reflect amongst each other more
and more until they disappear in the signal sustain as a so-called
“diffused hiss”.
The 24 presets include many rooms that were designed for certain
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instruments and applications and whose internal parameters have
been optimized for these applications. However, you can influence
most of the characteristics of the room using the provided sliders.
In addition to the rooms we have modeled two device types in the
reverb effect that allow you to create an artificial reverb for a longer
time: Plate Reverb and Spring Reverb.
Plate Reverb: A plate reverb consists of a large metal plate (often 0.5
to 1m² thick or more), that is put into motion by a magnet and coil
system (similar to a loudspeaker). On the reverb plate so-called
“taps” are positioned at different locations. These are pick-ups
comparable to those on a guitar. Reverb plates have a very dense
sound (high diffusion); no direct echo can be heard. They are
therefore ideal for percussive metal. With vocals a plate reverb
generates a smooth “wellness effect”.
Spring Reverb: You probably remember Spring Reverb from guitar
and keyboard amps, particularly older ones. At the bottom of these
amps a unit consisting of two to four spirals is mounted on a
vibration-free carriage. As with the reverb plate it uses systems for
transforming the electric signal into a mechanical one. There are
different designs and sizes of spring reverb; however, they all have
the same quite peculiar sound: the typical “bloing” sound when the
springs are moved, similar to splashing. When the reverb dies away
the basic pitch of the spring(s) can usually be heard quite clearly.
Furthermore, the frequency range is considerably limited due to the
losses in the spirals and in the used pick-up/transmitter. Despite this,
the sound is special and some of the latest music styles (e.g. dub &
reggae) would hardly be possible without spring reverb.
Parameters
The reverb effect has the following parameters:
Size: defines the size of the room (or the system for the plate and
spring). With some low “size” settings you can also reduce the
distance between the individual reflections. This allows resonance to
develop (accentuated frequency ranges), which can sound
oppressive if the reverb sustain is too long. The proper size for each
instrument can be gauged by taking into account the interplay
between the room and the resonance.
Time: reverberation time. With this controller you can define how far
the echo will be absorbed, i.e. the time for the reverb to die away.
Turning this knob to the left minimizes the time. You will then only
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hear the first reflection. Turning the knob to the right minimizes the
absorption and thus results in a long sustained reverberation.
Color: within certain limits you can influence the sound characteristic
of the effect. The effect of this controller depends on the used preset.
In rooms “Color” controls the dampening of the highs in the reverb
(from dark to bright) as well as pre-filtering of the signal. The
controllers for plate and spring presets also determine the dampening
of the basses.
Mix: this controller sets the mix ratio between the original and the
edited signal. For rooms you can therefore quite easily move a signal
further into the room by increasing the effect share. The last four
presets are intended for use in an AUX channel of the mixer and are
set to 100%.
Presets
The presets are primarily sorted by instruments; however, you can
(and should) choose which preset you want to use for which
instrument. The rooms in particular have completely different
characteristics which are noticeable for some and more subtle for
others. Generally we recommend reverb with many individually
audible reflections and slight diffusions for dense arrangements. On
the other hand you can use Plate Reverb for minimally arranged
songs in order to create a dense atmosphere.
However, you should avoid adding reverb to too many instruments.
Sometimes some extra mixing is sufficient to move an instrument
slightly away from the total sound. It is often recommendable to
adjust the sustain to the song tempo, i.e. the faster the track, the
shorter the reverb. Otherwise the sound easily sounds washed-out
and indifferent.
Here is a list of the presets and their characteristics:
Drums and percussion
Drums: Studio A: small room, high diffusion, e.g. for percussion
instruments
Drums: Studio B: slightly larger & more lively than A, medium
diffusion, distinct first reflections, signals seem closer than A
Drums: Medium-sized room: medium-sized room, moderate reverb,
medium diffusion, relatively few first reflections
Drums: empty hall: medium-sized empty hall, medium diffusion
Drums: Snare reverb plate A: plate reverb, high diffusion, relatively
bright sound character, typical hissing of a reverb plate.
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Drums: Snare reverb plate B: reverb plate, high diffusion, slight
dampening of highs & basses, sound moves more to mids with time,
stereo panorama narrower than for A
Vocals
Voice: main hall A: standard hall, e.g. for monitoring/recording,
medium-sized room, medium diffusion, minimum sustain time
Voice: main hall B: like A, but as a small hall (longer delay times than
A), distinct reflection pattern, longer reverb time
Voice: early reflections: medium-sized room, low reverberation
share, very distinct early reflection pattern, e.g. for spreading vocals
Voice: warmer room: small, intimate room, dark character
Voice: studio reverb plate A: reverb plate with medium diffusion,
slight dark adjustment, comprehensive sound characteristics
Voice: studio reverb plate B: Like A, but more diffusion and bright to
medium sound adjustment, slight vintage character
Voice: large hall: large hall, medium diffusion, relatively long reverb
time
Voice: cathedral: delayed attack, slight diffusion, complex echo
pattern, some hard reflections, dark voice adjustment, long reverb
sustain
Guitar
Guitar: Spring reverb mono A: spring reverb simulation, typical
oscillating sound of the springs, limited frequency range
Guitar: Spring reverb mono B: Like A, slightly broader frequency
range, greater diffusion
Guitar: Spring hall stereo A: similar to spring hall mono A, but one
spring/transmission system per channel (L/R)As a result of the
mechanical interlinking of the systems, the reverberations meet at the
middle of the stereo field
Guitar: Spring reverb stereo B: Like stereo A, slightly broader
frequency range, greater diffusion
Keys (Piano, Synthesizer)
Keys: Stage reverb: Larger room with stage, high amount of complex
first reflections, slightly delayed attack, medium reverberation
Keys: piano reverb: concert hall, long reverberation, medium
diffusion, minimum dark adjustment
Aux (to be used as a send effect in a mixer FX track)
Aux: Room: Standard room for the aux path, mix 100%, medium-
sized, medium diffusion, some distinct first reflections, low
reverberation
Aux: Hall: Medium-sized hall (100% wet), medium diffusion, short
reverberation
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Aux: Reverb plate: Reverb plate (100% wet), high diffusion, light
bright adjustment
Aux: Spring reverb: Reverb spring (100% wet), stereo, high diffusion,
slightly medium sound characteristics
Delay (echo)
The echo effect is defined more closely with ‘delay’ and ‘feedback’
and calculated into the original sound by means of ‘mix’.
Delay: Here the period of time between the individual echo’s can be
determined; the more you turn the control to the left, the faster the
echo’s will follow each other.
Feedback: Here the number of echo’s can be adjusted. Turned
completely to the left, there is no echo at all; turned completely to the
right there are virtually endless repetitions.
Sound Warper
Distortion
This is a distorter, which over-modulates the audio object.
Gain: With these controls you adjust the degree of distortion. ‘Gain’
designates the prestage to an amplifier.
Cut off: Here you adjust the frequency ranges that are to be
distorted.
Volume: Here you can adjust the volume of the distorter. The higher
you set the ‘gain’ control, the louder the distortion when compared to
the overall volume.
Filter
Similar to an equalizer, the filter controls the volume of certain
frequency ranges. It is however also possible to completely suppress
frequencies so that very impressive distortions are possible.
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Frequency: Here you set the frequency that is to be filtered.
Level: Here the filtering intensity is adjusted.
Resonance: Here you set the range (band width) around the
frequency which is to be boosted together with the frequency.
Volume: Here the filter volume can be adjusted separately.
Elastic Audio easy
General information on the Elastic Audio editor
Elastic Audio is a specialized editor for changing the pitch of audio
material. Resampling and pitchshifting algorithms can be automated,
and a basic frequency recognition enables the user to change around
considerably the pitches of monophonic audio material.
Pitch-shifting algorithms are able to change a melody in the pitch
without influencing the tempo. MAGIX Music Maker 16 Premium
provides various pitchshifting algorithms that can be used based on
existing material.
Elastic Audio has the following capabilities
• Recognition of the basic frequency in monophonic audio material.
• Automatic and manual correction of the basic frequency process in
monophonic audio material.
• Manual correction of the pitch of notes from monophonic audio
material.
• Changing melodies in monophonic audio material.
• Harmonizer for creating additional voices
Note on timestretching: Timestretching cannot be automated, but
can continue to be used statically when using Elastic Audio.
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Edit window
The pitch characteristic is shown in the editing window. To customize
the pitch correspondingly, the original pitch of the audio material
must, of course, be known. Fundamental to the functionality is
therefore a preliminary pitch analysis of the material. This is basically
only for tonal, monophonic material like solo vocals, solo instruments,
and speech.
The analysis function starts automatically when the editor is opened.
The analysis requires more time with longer objects. After the analysis
is complete, the objects are split up into individual "slices" according
to the recognized pitches. The medium pitches of a slice determine
its position in the graphic, independent of the set progression of the
pitch curve inside the slice. On the borders of the slice objects, two
handles are created on the pitch curve. These handles can be moved
in order to produce an increasing or decreasing pitch characteristic,
but still keep the small changes in the basic frequency (vibrato).
The “Tune” function for automatic pitch correction can be found
beside the "Draw pitch" function.
Axes labelling and legends
Y axis: Pitches in notes. The notes can be deselected on the
keyboard. They won’t be used in the automatic pitch correction or in
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quantized drawing. The corresponding guidelines for scales can be
used by selecting the basic tone and scales in the box “Edit slice
object”.
Orange line: New pitch characteristic (editable)
Grey line: Original pitch characteristic (result of the analysis)
Red line: Harmonizer voices.
Fundamentals of the Elastic Audio editor
Opening the Elastic Audio editor
Select the object that should be edited in the editor. The Elastic
Audio editor for a selected object is opened via "Menu effects ->
Audio".
Interaction between Elastic Audio editor and objects
Temporal corrections to notes are not run in the editor itself, but
rather by splitting and moving the objects in the VIP.
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Description of all control elements
Edit PROJECT OBJECT box
These options and parameters always effect the whole object loaded
into the editor, and therefore all of the slices.
Algorithm: You can choose between the modes: monophonic voice
(preset), standard, smooth, and beat marker slicing.
For more information on the algorithms, read the corresponding
paragraph on the time processor!
Curve smoothing: This parameter brings about the smoothing of the
given pitch curve using a time constant (in ms). When smoothing to a
large extent, jumpy pitch-shifts change from a “kick” to a glissando.
Formant control: Selecting the "Monophonic voice" algorithm may
result in so-called formants. Formants are sound components typical
for the character of instruments or the human voice. With instruments
they mainly result from the geometry of the resonance body. Human
formants are created by the anatomy of the vocal tract.
With most algorithms the formants are also influenced by changing
the pitch. Using the monophonic voice algorithm you can change the
position of the formants independent of the pitch. Acoustically, this
corresponds with stretching or compressing the above mentioned
geometry, and this can lead to interesting effects...
HARMONIZER box
Chord: Here you can set the chord that makes up the parallel voices
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of the harmonizer, and a distinction is made between major and
minor. The settings of the keyboard are taken into account, unless
the option "Lead voice" has been activated.
Humanize: At a low setting this causes high quantization of the
parallel voices and makes the effect sound very artificial. If you select
a very high humanize value, the pitches of the individual voices will
vary and the cue will be shifted so that you get the impression of an
amateur ensemble.
Create voices: This button generates voices.
Harmonic adjustment: Parallel voices are usually generated by taking
the keyboard and humanize settings into account. However, if this
option is deactivated, then the voices are always kept exactly parallel
to the orange curve.
Edit SLICE OBJECT box
Options for automatic pitch correction
Basic tone: Basic tone of the scale. In the chromatic scale this
setting is still not taken into account.
Scale: Type of scale. Major/minor or modes
Pitch characteristic tune!: This button quantizes (“levels out”) the
pitch characteristic of selected slices.
With quantization smoothing you can determine the “Strength” of
quantization, and lower values are quantized the most. Consequently,
small pitch fluctuations always occur in natural sound sources, e.g.
vibrato, disappear (“Cher effect”).
Reset: Resetting the selected slices. The orange curve is
superimposed over the grey curve, and the slice is reset to the
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original medium pitch.
Playback control
Reset all: Recalculates and resets the pitch curves of the loaded
material.
Stop/Play: Stops/Starts the playback of the arrangement.
Play solo: Only the object loaded into the editor is played.
Bypass: Switches the effect on or off.
Tools in the Elastic Audio easy editor
You can use various tools to edit slices and the pitch curve. The two
tools can be freely assigned to each mouse button. The tool assigned
to the left mouse button is displayed in blue and the right mouse
button in red. Click with the corresponding mouse button on the
desired console button. An exception is the zoom tool with which can
be assigned to both mouse keys.
Selection tool (arrow)
You can now move the slice objects up and down.
This modifies the pitch of slice objects as a whole, and slice objects
and curve handles can also be selected. Multiple selection is possible
with "Ctrl" or "Shift".
Freehand draw function
You can freely draw the pitch curve using the draw tool.
If you press "Shift" as well, a straight line will be drawn between the
start position on drawing and the current mouse position. When "Ctrl"
is pressed, the slice objects are combined when drawing.
Drawing with quantization
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This is the tool used for quantized drawing.
Quantized means that the line is horizontally free but the curve snaps
onto the grid of the tones of the selected scale under "Tune".
Drawing a straight line using "Shift" and compiling slice objects with
"Ctrl" is also possible in quantized draw mode.
Rubber-band tool
Use the rubber band tool to bend the pitch curves between
two neighboring handles.
Here the middle of the curve is moved while the curve handles remain
the same. In combination with moving the curve handles at the slice
object edges, you can also move the pitch characteristic and attain
micro-tone structures (vibrato).
Cut tool
This can be used to split audio material manually into slice
objects (according to the notes).
If automatic recognition is not sufficient, then slice objects can be
connected to one another using "Ctrl" + the drawing pens.
Eraser
Use the eraser to reset the output value of the orange curve.
The pitch characteristic then corresponds to the original again and
the curve corresponds to the recognized curve.
Magnifying glass zoom tool
Zoom tool: Left mouse button "Zoom" zooms in and the right
mouse button zooms out.
Left-clicking and dragging can stretch out a range which can then be
zoomed entirely.
Navigation tool
With the navigation tool, the visible clip can be moved
vertically and horizontally.
Applications of the Elastic Audio easy editor
Pitch correction (intonation correction) with monophonic audio
material
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Getting started (for all subsequent editing):
• Load objects into the Elastic Audio easy editor.
• Set the desired selection state. All slices are selected directly after
the analysis.
• Select suitable algorithms – you should test here to see if
"monophonic voice" (see above) is the suitable algorithm.
• Now the pitch can be edited with the mouse tools by editing the
orange curve or the pitch of the slice objects.
Manual correction of the whole pitch of a pitch slice
• Select the slice with the selection tool (arrow).
• Move vertically with the mouse.
Automatic correction of the pitch characteristic
• Select the slice objects with the selection tool (arrow).
• Select the scale in the Edit slice objects group and, if required,
deselect the tones which are not to be quantized in the keyboard by
clicking on them.
• Press the "Tone pitch characteristics" button
• With the parameter "Quantization smoothing" you can reduce the
"strength" of the quantization.
In principle, this editing process more or less levels off pitch
characteristics inside a slice.
Correction of the increase or decrease in the pitch.
• Select the slice objects with the selection tool (arrow).
• Click and drag the pitch curve by moving the two handles at each
end of the slice objects or on the orange lines.
Free redefinition of the pitch / Creation of frequency modulations
like warblers and vibrato.
• Select the slices with the Selection tool (arrow).
• Select the drawing tool (quantized or not).
• Draw in the pitch modulations.
Creating "Plastic voices" (Removing vibrato by strong quantization
of the micro pitch characteristic)
• Set the parameter Quantization smoothing to 0.
• Press the "Tone pitch characteristics" button
• If required, switch off format correction when using the "Monophonic
voice" algorithm.
Creating "Robot voices" – quantizing to a pitch
• Select the slice(s) with the selection tool (arrow).
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• Select the draw tool for quantized drawing.
• With artifacts: Increase the "Quantization smoothing" parameter.
Creation of parallel voices
• Set desired chord.
• If necessary, change the "Humanize" parameter and press "Create
voices" to generate the voices again.
Pitch-sliced-objects and VIP objects
The basic frequency analysis reduces the pitch slices to pieces which
ideally correspond to one note in the music's melody or one syllable
in speech. For speech the pitches correspond to the level of the
vowels.
After the analysis, all of the slices are shown selected (blue).
The subdivision into slices can be corrected manually. The slices are
cut apart with the scissors tool, and then merged together with the
rubber band gripper tool ("Ctrl" held down).
The blue line represents the mid-range pitch for each object and
results approximately from the average value of the pitches in the
slice.
In selected pitch-sliced objects the functions found in the “Editing
sliced-object” group can be applied, i.e. the correction of the pitch
sequence and the mid-range pitch.
The option to reset the corrections for selected slices is also
available.
Selecting sliced objects
Sliced objects can be selected and deselected. "Ctrl + A" selects all
slices; clicking on the “empty space” deselects them.
Fundamental frequency analysis correction
General options
The fundamental frequency analysis and the related fundamental
frequency-dependent pitch-slice-analysis may fail or cause errors for
the following reasons:
• Reverbed material,
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• Runtime stereophonics,
• False analysis,
• Voiceless vocals (sibilants...),
• Noisy sounds.
In the last two cases, analysis cannot return a result as the
fundamental frequency is not available.
MAGIX Elastic Audio provides the user with the opportunity to
achieve good results using many manual options, whereby the
fundamental frequency analysis does not or cannot deliver any
results.
Error in the fundamental frequency analysis
Symptoms:
Sound: The pitch varies strongly for a short period and does not
correspond to the set value or characteristic.
When using the monophonic voice algorithm, additional strongly
distorted noises arise. The algorithm, which depends on the
fundamental frequency recognition itself, fails.
Graphics in the editor: The curve exhibits a short strong jump and
behaves in a very jerky manner.
Solutions:
• With the help of the eraser you can try superimposing the original
curve at these points.
• If you set high values for the curve smoothing parameter, then short
"hiccups" can be reduced in severity or prevented completely.
Correction of slice borders
So that the automatic or manual correction of the mid pitches of
slices provides correct results, the slice borders have to match well
with the note borders.
The slice borders can be manually
changed by connecting two slices to one
another with the pen
Ctrl + or
and using the cutting tool to cut through
at the correct position.
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Keyboard commands and mouse-wheel assignments
Navigation using the mouse wheel
Horizontal scrolling: mouse wheel
Vertical scrolling: Alt + mouse wheel
Vertical zooming: Shift+ mouse wheel
Zoom horizontal: Ctrl + mouse wheel
Zoom hor. + vert. Ctrl + Shift + mouse wheel
Ctrl + space bar
Space bar
Ctrl + A
A
Ctrl + Z
Ctrl + 1-8
Ctrl + Shift + 1-8
Shift + Alt +P
Ctrl + Cursor up
Ctrl + Cursor
Cursor left
Cursor right
Home
End
Ctrl + Cursor
Ctrl + Cursor
Shift + R
Ctrl + NUMPAD 4,5,6
Alt + NUMPAD 4,5,6
NUMPAD 4,5,6
Play solo/Stop
Play/Stop
Select all
Update view
Undo
Select tool for left-hand mouse button
Select tool for right-hand mouse button
Show/hide pitch curve
Enlarge waveform
Enlarge waveform
Play cursor to the left
Play cursor to the right
Jump to object start
Jump to object end
Zoom in
Zoom out
Alter scaling mood (Frequency for chamber
note a).
Saves zoom snapshots 1,2,3
Loads zoom snapshots 1,2,3
without any vertical zoom
Zoom snapshots 1,2,3 with vertical zoom
Vocoder
The vocoder principle: Carrier material (e.g. a surface sound or a
synth chord) is affected by a modulator (e.g. language or singing) so
that one gets the impression that it is speaking or singing. Rhythmic
surface sounds can also be developed if modulated with a drum
loop.
This is done via the transmission of the frequency characteristics of
the modulator (speech) on the carrier (chord).
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Carrier input
Here you have to select the desired carrier sample. Some special
carrier samples that have been loaded automatically from the
"Vocoder" directory are listed.
Use the "Carrier sample" check box to load any number of
samples of the current project or predefined carrier sample.
Here you can play the carrier on its own for test purposes.
Noise: This controller lets you add noise to the carrier sample. This
makes sense if the carrier material can not be modulated sufficiently
or is irregular. It's good for "filling" drum loops which have too many
pauses between the beats.
Material containing all frequencies in equal amounts are particularly
suitable, such as strings, orchestra chords, broad synthesizer pads,
hissing, or wind noise.
Filter
Dynam: Influences the dynamics of the modulator signal to reduce
the modulation depth of the vocoder.
This prevents two often undesired side effects of modulation. On the
one hand, the volume change of the modulator signal is added to the
output signal in a slightly more moderate form which may improve the
power of the vocoder voice. On the other, the low-level share of the
modulator signal is ignored in order to prevent modulation of the
carrier by breathing or noise.
Smooth: Affects the speed at which the vocoder adjusts to the
modulator spectrum. The greater the value, the "lazier" the vocoder
follows the modulator and the "smoother" the sound changes in the
carrier sound.
Filter graphic
Any frequency characteristic can be drawn in to optimize the results
of the vocoder. For example, simple disturbing bass frequencies can
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be eliminated as the curve is corrected downwards to the left.
Similarly, weak highs can be strengthened as the curve is raised to
the right.
Mixer
In the mixer you can also mix parts of the carrier and modulator
signal to the vocoder output signal ("Out").
If the output signal of a track is used as a carrier in the vocoder, this
track will be muted first, and then you can make it audible again in
the vocoder mixer.
Presets
You can select predefined vocoder settings in the"Preset" list
window. The presets all contain vocoder settings, except the
selected carrier signal. "Reset" restores the vocoder default settings.
Gater
This special effect “chops” a sample in a freely selectable number of
pieces (2 - 16). You must first enter the number of steps that are to
be distributed over the sample length. The volume for every individual
step can then be set with the sliding regulator (faders) so that both
hard breaks as well as soft amplitude changes can be created.
The Gater function can also affect filters so that interesting sounding
distortions can be created, especially for the techno sector!
This function is highly suitable for creating a groovy sample for a
drum loop from a sound surface without its own rhythm!
By the way, more than 16 steps can be entered for the “Fader
number”, to obtain an even finer division of the samples. The
regulator settings are then repeated. Step 17 therefore has the same
value as Step 1.
The real-time screening function allows you to musically check every
fader modification.
Generally, two combinable operating modes are available:
Volume or filter progressions
The objective of this function is to change the volume or the sound
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character of the audio material in 16 or more steps with the aid of the
16 faders. The default setting of every fader corresponds with one
sixteenth of the audio material – i.e. a sixteenth note in a 1 bar loop
or an eighth note for a two bar loop, etc.
This leads to interesting rhythmic results, e.g. by lowering the volume
of individual faders or through stepped volume increases. Various
progressions can also be quickly created with the help of the random
function. The real-time screening function permits constant acoustic
control while this is being done!
Gater progressions make it very simple to create rhythmic sounds
from a simple strings or synthesizer section or to emphasize or tone
down certain beats in a drum loop.
Reordering
The playback sequence of the 16 steps can be changed with the
colored key fields located below the faders. This makes it possible to
repeat a beat from the first sixteenth in the fourth sixteenth. To do
this, the number under Fader No. 1 must be the figure 1. The fact
that item 4 will now play back the material in item 1 is shown in color.
Does this sound complicated?
If so, simply try the Random function. It instantly produces numerous
variations. If you have the Real-time screening function running, you
can then quickly decide for yourself, which groove you like better!
You can use the Re-order function to derive totally different variations
from a drum loop quickly and impressively.
Backwards
When Backwards is applied the sound file will be played in reverse.
This way you can create very interesting effects, not to mention the
“hidden messages” in many songs...
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Timestretch and pitchshift
This effect device changes the object’s speed and/or pitch.
Pitch: This control changes the pitch independent of the object’s
speed (‘pitch-shifting’).
Tempo: This control changes the tempo independent of the pitch
("time-stretching"). The object acts as if it were compressed or
stretched on the track.
Tones/BPM: These fields are used to numerically enter the pitch or
speed change. Only MAGIX Soundpool files are suitable for numerical
entries as the contain information on pitch and speed.
Setup: This button opens a setup dialog where you can select
various pitchshifting and timestretching procedures.
• Standard: Timestretching and pitchshifting in standard quality. This
method is suitable for audio material without a pronounced beat.
Beat markers are evaluated to improve audio quality.
• Smoothed: Timestretching and pitchshifting for audio material
without pulsing elements. The method is suitable for polyphonic
orchestral instruments, pauses, speech, and singing. Beat markers
are not evaluated.
Here a considerably more complex algorithm is used which requires
more processing time. The material can now also be used on very
large factors (0.2...50) without bringing about strong artifacts. The
material is "smoothed", which makes the sound softer and emits it at
an adjusted phase level. This smoothing is hardly audible, for
example, with speech, singing or solo instrumentation. Problems in
the shape of distortions may arise with more complex spectra
(sound mixes from various instruments or finished mixes).
• Beat marker slicing: Beat-synchronous timestretching and
pitchshifting via splitting and temporal repositioning. Exactly set beat
markers are required at the beats or transients. The markers can be
generated in real time (automatically) or read from the WAV file if
available (patched). In the Premium version's included MAGIX Music
Editor, a patching tool is provided for users to set the markers
themselves. The algorithm is suitable for rhythmic material that can
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be divided into individual beats or notes. This requires a low audio
level before each beat or note.
• Beat marker stretching: Beat-synchronous timestretching and
pitchshifting in standard quality. The material is stretched between
beat markers positions so that the beats or attacks at the beat
marker positions are not impaired by stretching. The markers can be
generated in real time (automatically) or read from the source file if
available (patched). This method is suitable for rhythmic material that
can not be divided into individual beats or notes because the beats
or notes overlap each other.
• Beat marker stretching (smoothed): Beat-synchronized
timestretching and pitchshifting in high audio quality even with
extreme time extension. Beat markers are used at the beats or
transients. The markers can be generated in real time (automatically)
or read from the WAV file if available (patched). This method is
suitable for rhythmic material that can not be divided into individual
beats or notes because the beats or notes overlap each other. This
method requires a lot of processing time which is why it should be
used sparingly on less powerful systems.
• Universal HQ: Universal methods for timestretching and pitchshifting
in very high audio quality. Suitable for all types of audio material.
Beat markers are evaluated to improve audio quality. This method
requires so much processing time, that a realtime application is
recommended only in exceptional situations. Using the apply
function is recommended instead.
• Monophonic voice: Timestretching and pitchshifting for vocal solos,
speech, or solo instruments. The material must not contain
background noise, and excessive reverb may also be detrimental to
the use of this method. With suitable material the audio quality is
very high. In addition, the formants remain when pitchshifting.
• Resampling: Pitch shift and tempo cannot be changed individually.
This method requires considerably little CPU time.
MAGIX Mastering Suite
The MAGIX Mastering Suite is a special effects rack for use with the
mixer master channel. Its effects provide audio mastering functions to
give the finished mixed music file a final polish.
The On/Off switches switch the effects on and off individually. Each
effect has a range of presets that can all be picked from a list along
the lower border of the effect.
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The settings of all effects can also be saved
together as one preset so that you can use
your ideal mastering setting again for other
arrangements.
Each effect can be reset by pressing the
"Reset" button. You can press the
"Bypass" button to temporarily deactivate
the effects.
Parametric Equalizer
The parametric equalizer consists of four filter bands for adjusting the
overall sound of the music track. Each band is a filter with a typical
"bell shape". Within a certain frequency range and around an
adjustable middle frequency, you can increase or reduce the signal
level gain. The width of this frequency range is called bandwidth. The
bandwidth is defined by the Q value. The higher the Q value, the
narrower and steeper the filter curve.
You can influence the basic sound of the mix by increasing and
decreasing the broadband to give it more "depth" (lower center =
200-600 Hz) or more "air" (highs = 10Khz). You can also decrease
the narrow bandwidth (high Q value) in the frequency response, e.g.
to remove disruptive frequencies.
Graphic: The resulting frequency path of
the equalizer is displayed in the graphic.
The frequency is spread out horizontally,
the increase or decrease of the respective
frequency, vertically.
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The blue bullets 1-4 symbolize the four wave bands. You can move
them around with the mouse until you find your desired frequency
response.
Peak meter: The peak meter gives you control over the output level
of the equalizer. The adjacent master gain controller can be used to
balance the level with the EQ.
Edit: The "Edit" button opens the fine tuning for the four
bands:
Parameter selection: With the buttons on the right you can select the
parameter that can be adjusted with four faders of each band.
Furthermore, there are number keys to enter every parameter of the
bands.
Gain dB: These controllers allow you to raise or lower the filter.
Setting the controller to 0 deactivates the filter and doesn’t use CPU
power.
Freq. Hz: The center frequency of the individual filters can be set
between 10 Hz and 24 kHz with the frequency controllers. Freely
choosing the frequency enables multiple filters to be set to the same
frequency in order to have a greater effect.
Q (bandwidth): Set the bandwidth of the individual filters between 10
Hz and 10 kHz.
There is still a peculiarity among bands 1 and 4; The filter curve for
these bands can be changed from a normal "peaking" EQ filter ( )
to "shelving" ( ) (this is the basic setting) and high (band 1) or high-
cut (band 4) . When using the "shelving" filter, a soft increase or
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decrease in all frequencies happens above or below the filter
frequency, and the Q parameter does not have a function here. With
a low-cut or high-cut filter, all frequencies below (low-cut) or above
(high-cut) the set frequency are filtered out.
MultiMax
MultiMax is a compressor with three independent frequency bands.
The dynamics are edited separately for each band.
The benefit of a multi-band compressor in comparison to a "normal"
compressor is that the "pumping" tendency and other disturbing side
effects are dramatically reduced when editing the dynamics. For
instance, it can prevent a bass top peak from "reducing" the entire
signal.
Multi-band technology also lets you specifically edit individual
frequency ranges.
Link bands: When this function is activated and one fader is
adjusted, all faders are changed in the same ratio. The type of
dynamic editing is not influenced.
High quality: When the "high quality" setting is activated, an even
more precise algorithm is used, but this requires more processing
power. We recommend that you switch on this setting before you
export the project.
Setting the frequency band: The settings of the frequency bands are
changed directly in the graphic. Simply click on the separator lines
and move them.
Bass/Mid/High: These knobs control the level of compression for
each frequency band.
Presets
In MultiMax you can use the presets to open further special functions.
Dynamic expander: Compression that is too high will result in audible
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noise (usually defined as a pumping sound). Particularly radio
recordings are recorded with very high compression rates to increase
the perceived volume. Unfortunately compression reduces the
dynamics (interval between the quietest and loudest part). The
expander enhances the dynamics of the recording.
Cassette NR-B decoder: MAGIX Music Maker 16 Premium simulates
decoding of Dolby B + C noise suppression if no Dolby player is
available. Cassettes recorded with Dolby B or C sound more muffled
and slurry if played back without corresponding Dolby.
Noise gate: This cleaning function suppresses noise entirely below a
certain noise level. This lets you create, for example, song transitions
that are entirely noise-free.
Leveler: This setting automatically sets the entire material to an
identical volume level. The volume control knob is no longer required.
You can use this function to equalize greater volume differences
within a song. To equalize volume variations between different songs
you can also use the function "Normalize loudness" from the "Effects"
menu.
DeEsser: These special presets are for removing overstressed hiss
sounds from speech recordings.
Stereo FX
With the Stereo FX Enhancer you can determine the positioning of
the audio material in the stereo balance. If the stereo recordings
sound unfocused and undifferentiated, an extension of the stereo
base-width can often provide better transparency.
Use the maximize function to move the echo, for example, into the
foreground, thereby improving the stereo picture.
Volume control: Adjusts the volume of every single channel, thereby
adjusting the entire balance. The reduction of left and right levels is
displayed under the control buttons. This way you can balance out
and thus improve an imbalanced recording in which, for example,
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one channel was recorded at a lower level than the other.
Pan-Direction: With this controller you can move the sound source
that comes from the middle into stereo panorama. The signals at the
outer edges of the sound picture remain unchanged.
Bandwidth control: Adjusts the bandwidth between mono (on the
extreme left), unchanged bandwidth ("normal stereo"), and maximum
bandwidth ("wide", on the extreme right). The individual sound
sources of a recording are squeezed together or pulled apart in the
stereo picture.
Raising the bandwidth (values over 100) diminishes the mono
compatibility. This means that recordings edited this way sound
hollow when listened to in mono.
Maximize: Use this controller to strengthen the room sound which
also increases the stereo transparency without influencing mono
compatibility.
Multiband: This can be used to switch Stereo FX to Multiband mode.
Stereo editing only applies to the middle frequency, the bass and
highs remain unchanged.
Stereo meter: This provides a graphical display of the phase relation
of the audio signal. You can use it to review the orientation of the
signal in the stereo balance and the effect of the stereo enhancer. To
keep mono-compatibility the "cloud" shown should always be higher
than broad. Otherwise some frequency ranges may cancel each
other out if the stereo signal is played on a mono device.
Limiter
Limiter: MultiMax includes a limiter that prevents
clipping by automatically lowering the level.
Quiet parts remain untouched. Unlike the
Compressor, it does not try to change the basic
sound.
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Digital Audio Meter
On the lower border of the MAGIX Mastering Suite there is a digital
audio meter which provides separate control method displays for 10
wave bands on each channel. This device is used for orientation
purposes, e.g. selective equalizer editing.
Essential FX
MAGIX Essential FX is a collection of "bread and butter effects" for
the most important applications. They are embedded as VST plug-ins
(MAGIX plug-ins directory) and may be used in the object or in the
track. For object application, see "FX plug-ins (see page 169)" in the
"Audio effects" chapter or "Track effects (see page 167)" in the
"Mixer" chapter.
These are simple but solid tools with clear feature sets for daily
application. They include fewer controllers and require less
resources.
The following essential FX are available in MAGIX Music Maker 16
Premium:
• Chorus/Flanger
• Phaser
• Stereo delay parameters
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.
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Chorus and flanger are two closely related effects, which is why we
have included them in a single plug-in. They normally differentiate in
terms of delay time, type of modulation, and degree of internal
feedback.
Chorus flanger parameters
• Mode:
- Mono chorus: In this mode, the signal is fed through a delay unit
and the pitch is modulated. Original and delay copy are mixed into a
monophonic output signal.
- Stereo chorus: Compared to mono chorus, two copies of the
original are created, modulated against each other, and then fed
accordingly to the set mix ratio to the left and right output channel.
- Mono flanger & stereo flanger: Similar to the other modes. In this
case, lower delay periods and a slightly changed modulation are
processed.
• Rate: This specifies the speed of the modulation. Lower rates
provide slight hovering effects, and high speeds produce a wobbling,
typically distorted "underwater" sound.
• 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. Both variants may sound very different depending
on the signal, since they prefer different frequency ranges for
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dissonance.
• Mix: Regulates the mix ratio of the original signal and the delayed
portion.
Phaser
The phaser is often mistaken for a flanger due to its typically sharper
and cutting effect. In any case, the pitch is not modulated. Instead,
the modulation process burrows multiple notches into the frequency
response, somewhat like a comb filter. Just like an airplane taking off,
the phaser functions with a similar jet effect. It is suitable for enduring
signals like synth surfaces or for producing sound designs like
atmosphere or distortion effects.
Phaser parameters
• Mode: The selection includes a number of filter stages. At 4
stages/8 stages, a more plastic effect is achieved, and more
complex patterns are reached at 16 stages. Please note that the
more stages are involved, the more computing time will be needed.
• Rate: Speed of filter modulation. The essential effect is the same for
both chorus and flanger.
• 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.
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Stereo delay
The stereo delay is a simple too for typical bread and butter delay
effects. The "analog algorithm" qualifies as a special feature that
produces the sound of echo devices from the old days.
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. The signal was held for a short time in a relatively simple
circuit and then moved on to the next. This "bucket brigade"
principle created a longer signal delay. But since each element of the
chain led to a loss of the signal and would increase the system noise
with longer delays, the devices would use a compander: At the
input, the signal's dynamics are compressed, and then they are
expanded again at the output end. The simulation in the eFX delay
mimics the loss and compander behavior to produce these typical
audio characteristics, especially at longer delay periods and higher
repetition rates (feedback).
• Delay L/Delay R: Specify the delay period for the left and right
channels here.
• Tempo sync: If this button is active, the plug-in is directed at the
host/sequencer tempo. In this mode, changes are made to the delay
period via the L/R delay using the musical snap grid (e.g. 1/4 note).
• Damping: This specifies the cut-off frequency at which the highs are
dampened during the delay. This useful for making the delays
reverberate more naturally or for creating special effects
(reggae/dub-style effects).
• Feedback: This parameter regulates the internal amplitude of the
delayed signal that is fed back to the input. In "Digital" mode, this
process is completely transparent; in "Analog", on the other hand,
higher values, a very loud input signal, or the sum of these will make
the use of dynamics compression audible. In both modes, the
nullification of the feedback parameter is in the center of the fader.
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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.
Vintage Effects Suite
If you're a guitar, bass or keyboard player, you'll probably recognize
the look of our new "vintage effects" suite. They are accurate digital
models of analog "standard effects" used by live musicians. Although
we have adopted the appearance of stomp boxes and have given
these effect a typical analog sound they are ideal for studio use.
All effects of the Vintage Effects Suite are subject to a soft rule
behavior – internally, parameters are softly faded from the old to the
new value. This is particularly noticeable when presets change and is
of a particular benefit when playing in live mode.
In the following we will present the effects of this suite and explain
how and where to use them.
Analog Delay (on page 204)
Flanger (on page 206)
Filter (on page 208)
Chorus (on page 210)
Distortion (on page 212)
BitMachine (on page 213)
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Analog delay
This delay offers creative playing along with common delay effects.
"Analog" in this case means, for instance, that you can change the
delay times while playing without the risk of typical scratching
artifacts developing. Instead, the times are softly faded out, similar to
the old tape echo machines that used the tape speed to change the
delay and where the system also had a certain sluggishness.
Analog delay emulates vintage tape echo units which determined the
delay time by the tape speed, and speed changes were slow and
affected the pitch (feedback). The feedback has a two-band filter that
can be used to create dark, high, or mid repetitions depending on the
settings.
You can use these characteristics to your advantage by creating, for
example, "out-there" dub/reggae-style delays which become less
defined with each repetition and are slightly warbled. Here "analog"
means that the delay cannot be digitally overdriven. Even in a
"looped" repetition the signal cannot be distorted indefinitely, but
compressed by an increasingly slight degree and distorted similar to
a tape.
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Analog delay parameter
Analog delay has the following parameters:
Delay type
Delay type (l + r): Left and right delay times can be controlled
separately (see below). You can choose a note value for the control
pots to snap to. Even and syncopated note values from 1/2 to 1/32
are available. Note that the delay times are always in relation to the
project’s current tempo.
Link button (lock symbol): Press this button to control the “delay
type” pots for both channels simultaneously.
Mix: Adjusts the ration between the original signal and the echo.
Modulation
Speed: The tape warble speed. Low values result in very light
fluctuations, high values result in drastic warbling.
Depth: The warble intensity. When this control is turned all the way to
the left, there is no pitch modulation. For a subtle "analog" feel, we
recommend a setting between the 9 and 11 o’clock position.
Filter
"Low" This control progressively reduces the bass frequency
as it is turned to the right, making the signal sound
"thinner".
"High" Once turned all the way to the right, the control only
attenuates the treble very lightly; turned completely to
the left, the delay repetitions become progressively
less treble.
Feedback
Width: This controls the stereo width of the delay repetitions. When
you turn “Width” to the right, an additional effect is produced: the
panning of the delays increases. This is commonly referred to as a
"ping-pong" delay.
Drive: When this control is turned all the way to the left, the delayed
signal is repeated only once. Turned all the way to the right, the
feedback is seemingly endless and the repetitions continue for a long
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time.
The actual strength of the effect is dependent on the material, since
the feedback loop (as explained earlier) is addressed via compression
and uses a "tape saturation" effect. If you send a "loud" signal to the
delay, then the feedback will sound longer than at a lower level as
compression "brings it up" to a certain level. If you are used to
"purely digital" delays, then this might take some getting used to, but
it will probably sound "livelier".
Flanger
The "flanger" effect is similar to the chorus, but its history is different.
It was developed by coincidence when someone (according to
legend it was actually John Lennon!) briefly slowed down one of the
reels of two tape machines that were linked together.
The result: the rather brief delay of the second signal compared to
the first resulted in cancellations within the frequency spectrum,
leading to a so-called comb filter effect (the sum of both signals
creates "peaks" and "lows" in the spectrum that look familiar to the
teeth of a comb).
Flanging is basically a chorus effect that modulates a shorter delay
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time (under 10 ms). Flangers are not meant to double or disembody a
sound like chorus does, but aim to manipulate its frequency range.
When the “Feedback” parameter is turned up, a familiar flanging
effect is produced – the sound characteristics of a jet engine warming
up.
Flanger parameters
Speed: Modulation speed.
Depth: The overall amount of modulation.
Feedback: The volume of the internal feedback loop.
Mode:
Normal: Flanging.
Dual: Two parts, panned left and right.
Quad: Four parts, alternately panned left and right.
Quad pan: Like “Quad”, but the “Depth” control also sets the
intensity of the signal’s pan movements between left and right.
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Filter
"Filter" is a modulation effect similar to the chorus and flanger effects,
but it controls the frequency range and modulation source instead of
the pitch. Therefore, it has different filter types and modulation times.
The filter is particularly effective for synth sounds ("filter sweeps" on
pads and atmospheres) and for creatively manipulating drum loops
(such as for variations, fills etc.). It can also be used on guitars to
produce the well-known "wah" effect with tempo modulation or a
special mode.
Filter parameters
Speed: The modulation speed is set by note values ranging from 1/1
to 1/16 (even or dotted). Similar to analog delay, the tempo
information is automatically provided by the arrangement.
A peculiarity of the final position of the controller:
Tempo synchronization stops and modulation is controlled via the
signal level.
Freq: This is the base frequency for modulating the filter, and
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generally takes place above this frequency, i.e. the modulation
increases the filter frequency.
Depth: This control determines the modulation depth, i.e. the amount
by which the speed control (or envelope mode, as described above)
increases the base frequency. For extreme effects, turn “Freq” all the
way to the left and “Depth” all the way to the right.
Filter modes
Low-pass A filter with a slope of 24 dB/octave and a
small amount of resonance. The treble
frequencies above the base frequency (cut-
off frequency) are filtered steeply. This is
great for filter sweeps on synth pads and
drum loops.
Band-pass Only the frequencies around the base
frequency are passed through the filter
(24 dB slope with resonance). Use this mode
to create wah-wah effects for guitars.
Band
elimination
(„Notch-Filter")
Two parallel filters (–36 dB) with linked base
frequencies create two ‘notches’ in the
frequency spectrum. This allows you to
create interesting sounds (e.g. guitar
chords), and it sounds similar to a phaser.
High-pass This mode achieves the opposite effect to
the low-pass filter. Frequencies below the
base frequency are filtered steeply. If you
‘thin out’ sections of your track (for example,
a drum track) with a tempo-based
modulation, this can sound very effective
when contrasted with the full-range
frequency spectrum (for example, if the filter
is turned off for the next object).
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Chorus
Chorus creates a "floating" sound typically associated with guitars
and synth pads. It can acoustically "thicken" an instrument, making it
sound fuller to create the illusion that several instruments are playing.
The chorus sound is created by using the so-called "Doppler" effect.
You probably have noticed this phenomenon daily life: The sound of
an approaching ambulance sounds higher than when it is moving
away. This effect is a result of the speed of the sound which first
increases and then decreases, thus also changing the sound pitch. If
there were a second siren at your location, an oscillation would
develop between both sounds (just like when two instruments are out
of tune).
Chorus also splits the signal into at least two parts: the direct sound
and effects. The Doppler effect is created by a short signal delay of
the effect.
This delay is within the range of 10-30 ms (as in this one), this means
that it is short enough to be perceived as an "echo". The times
would also be similarly short if you were to duplicate a guitar track for
instance. A short delay in the mix already sounds "duplicated", but is
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not authentic. This is where the above mentioned "out-of-tune" effect
comes in: the pitch of the effect signal is slightly modulated by gently
"drifting" forward and backward in the delay curve. The result is a
floating effect where the speed is influenced by drifting.
Chorus parameters
You can enter the following parameters to control the floating effect:
Speed: Modulation speed. Low speeds create an even, continuous
development. High speeds produce vibrato-like qualities, but can
also result in an "underwater" effect.
Depth: Modulation depth. This determines how strongly the speed
affects the pitch modulation.
Mix: This sets the balance between the direct signal and the effects
signal.
Mode: You can choose between four operating modes of the chorus
effect:
“Normal” is a combination of the direct signal and the detuned delay
signal.
“Normal, low-pass” is designed for bass-heavy signals like bass
guitar. The bottom end of the signal stays clear and well-defined, the
effect is only audible for the mid and treble frequencies.
“Dual” makes the source sound more lively than a single "part". The
sound is spread over the stereo panorama, which makes this mode
seem "wider". The character of the sound becomes livelier than with
a single voice only, and it is also distributed over the stereo
panorama, making the mode sound "broader".
“Quad, low-pass” is ideal for creating sounds such as deep synth
pads with tight bass frequencies.
Tip: Similar to the stomp boxes our vintage effects are modeled on,
there is a "footswitch" below the pedal’s logo that can be clicked to
turn the effect on or off for A/B comparisons. All the effects of the
Vintage Effects Suite have been designed like this.
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Distortion
The distortion pedal is a “high-gain” distortion unit for crunch and
lead guitar sounds. If you like typically “British” amp sounds and want
to quickly record a guitar track with little effort, then this is the pedal
for you.
An entire valve pre-amp circuit has been modeled, including the
typical EQ curve. The amplification is “valve-typical”, i.e. it doesn’t
start quickly but is harmonic and soft. Even at full power the pedal
still reacts softly to a guitar and its settings (e.g. pickup choice and
tone controller). For instance, you can influence the distortion even
more by using the volume knob on the guitar.
There are only three parameters on this effect, but these interact with
each other and can thus generate quite a variable sound. These
parameters are:
• Low: the “bass” controller. This allows you to set the share of
basses, even after the distortion. The type of prefiltering is important
for guitar amps in particular, and is characteristic for the basic
sound. You should set the bass controller depending on the basic
sound of the guitar and the sound you are aiming for, e.g. “powerful”
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or “cutting”.
• High: Mainly controls the share of highs before and after the
distortion. If you are not using an external guitar speaker as a
monitor, then we recommend setting the controller to the middle
position or even moving it slightly to the right. This way the “sharp”
highs which all guitar amps generate without a suitable loudspeaker
disappear. At the same time the mids stand out more to give the
sound more “kick”. On the other hand, you can further emphasize
the highs if you want the sound to be more neutral.
• Drive: The level of distortion. This controls the amplification used to
operate the “virtual valve circuit” (max. 60dB). As the level increases,
the valve goes into overdrive and generates typical distortions. For a
slightly distorted sound (“Crunch”) it is sufficient to set the controller
to 10-11 hours maximum. Furthermore, the modeled circuit provides
the usual “weight” for power rock chords and more. The further you
turn this controller to the right, the more the mids of the signal move
to the fore so that the “high-gain” lead sound can be heard better.
You can also use the distortion effect in combination with the amp
simulation.
BitMachine
Audio material can always be edited into high-quality with MAGIX
Music Maker 16 Premium. Nevertheless, there are situations where a
more imperfect lo-fi sound would perfectly suit a drum loop or a
synthesizer sound.
Remember the first hardware samplers from the 80s that usually only
ran in 8 or 12-bit resolution and at low sample rates? With the
BitMachine, changing the sound to suit such an "antique“ device is
no problem.
You can use the BitMachine to bring back to life the times when
minimalist, scratchy sound chips in home computers were
commonplace.
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The BitMachine opens up a gateway to "acoustic time travel“ where
you can encounter bit and sample rate reduction and downstream
filters based on analog models.
Plus, the effect has a modulation section for you to 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.
"Reduction" section
Bits
This dial controls the resolution of the audio material. Turning the dial
to the left results in 16-bit quantization (CD quality). The further it is
turned to the right, the lesser the signal dynamic becomes. In
extreme cases (1-bit), there are only "on“ or "off“ states.
At the intermediate levels, you’ll notice an increase in the background
noise and a decrease in the dynamics. For example, 8-bit
quantization will exhibit dynamics of only 48 dB. Quieter points in the
material sound noisy and very quiet points sound "capped“. This
effect is amplified the more you turn the dial to the left until it starts
crackling or "groaning".
Sample rate
The audio material is "down-calculated" with this dial, i.e. the internal
sample rate is reduced. A new separation ratio between old and new
rates is created. In relation to this ratio, a sample from the data
stream will be "dropped“ at the various points.
Note: The two smaller dials from this section are explained under
Modulation.
"Filter" section
The filter in the BitMachine is a digital model of one of the most well-
known filters in music electronics, i.e. the "Chamberlin 2-pole" filter
used in old Oberheim synthesizers. These types of filters sound
exceptionally musical. They can also be used quite creatively in the
BitMachine, but should not be used exclusively to smooth out
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existing artifacts.
The filter works in the so-called "high-pass" mode, i.e. it lets through
deep frequency (or medium) material according to setting, and
dampens highs and medium areas.
Freq:
You can specify the cut-off frequency of the filter using "Freq".
Filtering starts above this frequency.
Reso:
The signal in the area around the cut-off frequency can be strongly
elevated to just below self-oscillation. Sharp, cutting sounds are
possible at this level, and the effect becomes even clearer when you
vary the cut-off frequency.
Drive:
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.
Note: The two smaller dials from this section are explained under
"Modulation".
"Modulation" section
You can automate your effects via the settings in the modulation
section.
Here, you’ll find the so-called low frequency oscillator (LFO), which
resonates with adjustable speed. You can influence the speed and
type of resonance.
To influence the resonance, use the two small dials in both the
reduction and filter areas. These four dials display modulation targets.
Example: You’ve left the dial for the sample rate at its default setting.
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Change the small dial beneath from its middle position to either side.
The modulation for the dial value is added to the sample rate: The
LFO now controls these parameters proportionately and the sample
rate reduction resonates at this modulation.
You can use this technique on other dials as well. You just have to
make sure that the main dial isn’t turned up to full, because then the
modulation wouldn’t have any effect. The modulation is always added
to the set value.
Example: Turn the small dial beneath the "bits" dial fully to the left
(Value: -50) and the one beside it (beneath "sample rate") to the right
(+50). You’ve now assigned a modulation to both parameters with
the LFO. They are not changed uniformly, but rather opposite to one
another: A negative setting is nothing more than an inversion of the
modulation, so you’re effectively turning down the control signal.
waveforms of the modulation section
We’ve already explained this example with the help of sine oscillation.
The LFO can be in:
• Sine form
• Square wave (0 or 1, no intermediate level)
• Random value (an internal randomizer will be queried at the set
speed)
Oscillator speed
The LFO speed is specified with the "speed“ dial. If the "sync“ button
is active, then the LFO adapts to the song speed, and the dial locks
musical values into place (e.g. ¼ note). Rhythmic paths of the sound
distortion are therefore enabled. You can also switch off this
synchronization and set the speed manually (in Hz).
Modulation with the "Envelope follower“
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. To do this, use the control LED: With
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accurate detection of the signal dynamics, assigning the four small
dials to modulation lows is easier and you can use the full control
range.
In envelope mode, the "speed“ dial is used to control the response
speed of the envelope (the display now switches to milliseconds).
Lower times result in a faster response, higher times make the
envelope rise (and fall) slower. You should experiment with the signal
according to its complexity. The presets provided can only point you
in a rough direction.
Vandal
Virtual Guitar & Bass Amplification
VANDAL is a complete simulation suite for guitarists and bassists.
The plug-in is capable of simulating the entire signal chain, from input
to stomp boxes, amplifiers, microphone loudspeaker boxes and post-
processing studio effects, all in top quality.
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Vandal SE - quick start via preset selection
Would you like to know about everything that's possible with Vandal
SE? Go for the strings and listen or flip through some of the included
presets. These are available via the list in the upper edge of the
interface.
A preset includes all settings for the main elements of Vandal SE:
Stomps, amp settings, cabinet simulation, and studio effects.
Vandal SE - Tuner
The best amp or the best simulation is useless if the guitar is out of
tune. Vandal SE offers its own chromatic tuning device for this. Use it
just like any analog device: it automatically displays the note played
(with octave position) and visualized the deviation in the display (in
cents).
Vandal SE - Input
The station that you will most likely want to activate first is the input
controller. Just like with a genuine guitar or bass setup, it's important
to ensure the highest possible input level, in order to work optimally.
This is even more important for distorted sounds and natural high-
gain playing styles. Use metering for this, too.
As required, activate the noise gate and adjust it so that it lightly
suppresses the input signal during pauses in playing. Vandal SE does
not cut the input on classic gates too hard, but rather regulates them
finely via the signal energy beginning at the highs (where noise is
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most audible).
Vandal SE - Stomp boxes
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 SE includes for
"stomp slots" for use with effects equipped from the list. The signal
flow within this chain runs from left to right. Since all of the controls
are self-explanatory, we won't describe them here.
Vandal SE - Amplifier
Vandal SE basically offers 2 different amplifiers: Guitar Amp and Bass
Amp. The amplifier type depends on the selected preset.
During development, a large selection of famous amplifier brands and
models were not included. So that you are able to get a number of
different sound characteristics out of your Vandal SE amp, the
amplifiers are setup variably. Internally, circuit designs work
absolutely the same as the real versions. In several ways, however,
Vandal SE goes in its own direction in terms of the sound it offers.
Guitar amp
The Vandal SE guitar amp offers three different preamp modes and
two switchable end stage models. These basic configurations differ
according to the the selected preset.
The guitar amp is setup with three channels. These may be set up
with the pre and post gain controllers per channel (Clean, Crunch,
and Lead) for the desired mix ratio. Don't worry about switching
things around: The amplifier will remember the gain settings when
channels are changed. These are the gain presets for the different
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playing styles within the song.
Voicing: We have provided Vandal SE preamps with something that
we call Curve EQ. For example, if you take a simple EQ pedal and
shape the signal a little before the amp, then this may change the
sound quite drastically. Curve EQ does something similar: It's located
(in some cases multiply) at strategically points between individual
amplifier stages and filters the signal, before it is distorted by the next
stage. 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...
Equalization: The actual sound control (the "tone stack") functions
rather conventionally: Vandal SE offers low, mid & high settings.
Everything functions like the passive sound regulation network in
genuine amps so that the controllers influence each other to produce
numerous variations.
Reverb: Surf and twang simply needs on-board spring reverb. We've
drawn on the modeling of famous reverb spirals. Everything sounds
natural with complete authenticity.
Bass amp
After roughly setting the Gain controller, the bass signal will first be
treated with the Contour circuit. This filtering stage works similarly to
the "Loudness" function by cutting the (lower) mids and lifting the
deep bass and highs. It's sort of like "instant slap")
Next, the signal passes through the compressor stage (Comp). This
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is a simple but extremely musical, optical design: The bass triggers a
light source that is couple with a photo resistor which 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.
After any possible compression, Drive provides the option to take the
bass sound to the next level. Saturating the signal takes place
depending on the frequency: In spite of a level of distortion, the
basses remain relatively clean and contoured.
The equalization stage offers 4 frequency ranges, whereby the two
mid bands are variable. The final master volume controller specifies
the volume of the final stage. As with the guitar amp, the end tubes
are also engaged in this case as much as remains sensible.
Cabinet simulation
For the cabinet simulation, playback of guitar sounds is simulated via
speaker cabinets and pick-up from the boxes via 2 microphones.
The selection list features multiple speakers, housing types, and
microphones. Two separate microphones are included with a
modeled recording space. Analogously to a real situation, you may
position a virtual microphone stand in a space to achieve interesting
mixing ratios and stereo effects.
It's up to your creativity whether you would like model the cabinets
on realistic role models (e.g. 12" vintage speakers in a 4 x 12
housing) or place a 10-inch design in a 15-inch box. You may also
specify how strongly the speakers may/should or how penetrating the
housing portion affects the overall sound. The dampening
characteristics of the loudspeaker cabinet may also be adjusted.
In terms of microphones, the parameters room size and dampening
may be set via the simulated recording space. Model a silent
chamber or put the sound "on stage".
Rack effects (FX1/FX2)
There are effects that don't always work well before the amp, e.g.
reverb or delay, especially when they are distorted. Normally, these
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effects are better placed at the end of the signal chain.
For final processing and enriching, we offer two separate studio-
quality effects units just like real 19" rack devices.
Many algorithms create a stereo signal. Take care that the sequencer
track operates the duct in "stereo" mode.
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): Possibly a simple delay with free
selection of delay time or synched to the sequencer tempo with a
musical raster. In case of high feedback values, a reduction of the
damping frequency is required to provide naturalness to echoes.
• Stereo delay (msec & tempo sync): Like mono delay; features two
models. Repetitions may take place on separate channels (feedback
controller to the right: dual delay) or in ping-pong mode (controller to
the left), whereby the signal alternates between the sides.
• Chorus: 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 by a short delay, the
length of which can be varied by the modulation. This produces the
so-called "Doppler" effect and broadens the signal.
• Flanger: Algorithmically similar to chorus, but different in that the
delay time is significantly lower and delay works with repetitions
(feedback). A flanger sounds more "cutting" and up-front than a
chorus.
• Phaser: A modulation effect just like chorus & flanger, but in this
case no detuning takes place. Filter components periodically alter
the signal's "phase response" (principle of the "phase shifter").
Characteristic notches are produced in the frequency spectrum
response (comb filter effects).
• Room reverb/hall reverb: Reverb offers realistic simulation of
realistic reverberation. Room creates the impression of a small to
mid-sized recording room, while Hall produces the sound
impression of a concert hall. A particular is that both effects
algorithms provide a modulation parameter, which may remove
possible resonance at low dosages and can produce a soft chorus
effect at higher values.
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• LoFi: This algorithm gives the sound a little bit of "grit", or a certain
measure of signal destruction depending on its setting. Turn down
the internal sample rate as much as you like to steal a few bits from
the sound's resolution. This is definitely unconventional...
• Vintage compressor: Ideal for thickening up the signal a little. The
algorithm emulates an older popular circuit design that is similar to
studio legends like the Urei 1176 or simple compressor pedals. A
so-called "FET building block" controls the volume via the input level
simply, effectively, and quite musically, as well as the set
compression ratio and the attack and release.
• 3-band EQ: This sound controller works like a conventional mixer
with controller for bass, highs, and two controllers for the (variable)
mids. This adds the final polish to your sound.
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Video and Bitmap Objects
Video and bitmap formats
MAGIX Music Maker 16 Premium can load and export videos in AVI,
MAGIX Video (*.mxv), Windows Media (*.wmv) and Quicktime Movie
(*.mov) formats and in addition export in Real Media Video (*.rmv)
format.
Graphics can be loaded and exported in BMP and JPEG formats.
Also RTF text files can be loaded and used as subtitles.
On the content media you will find the included image and video files.
You can also use your own files or even record your own videos.
To get the best results with video effects, you should save the video
and bitmap files used in True Color (24-bit color).
Adjusting the video screen
The video screen can be positioned freely on the screen as well as
adjusted in size. To position it, you must first switch off the standard
layout view in the windows menu before you can move the video
screen. To adjust its size, click on the video screen with the right
mouse key and select the desired size from the object menu or define
it yourself (‘user defined’). Please note that larger screens require a
greater computing performance!
Loading and editing videos and bitmaps
Video and image objects can be loaded and edited just like other
objects. In order for you not having to decide which file is to be
loaded, you can use the preview function on the video monitor.
Simply click on a video or graphics file in the Media Pool: The
corresponding video or graphic is displayed or played in the video
monitor.
• Via the context menu (right mouse-click into the list) you can choose
between different views ("List", "Details", "Large symbols"). In the
"Large Symbols" view the videos are displayed with a preview frame
– very useful to preview the available images.
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• If you want to use the video for your arrangement, drag the video or
bitmap file onto a track in the arranger while holding the mouse key.
During playback in the arranger, the entire video and image material
on all tracks, including all effects, is played back in real-time.
• Video and image objects can be edited in the same manner as other
objects: You can touch and move them with the mouse, fade them
in or out with the handles at the top corners, or change their
brightness with the middle handle, etc. Please also read the chapter
"Arranging objects (see page 62)".
Simplify object presentation
With the TAB key you can switch between two object presentations.
The objects in the alternative presentation are not displayed frame by
frame in the arranger, but in simplified form. This saves working
memory and improves overall play performance. Scrolling and
zooming in the arranger as wee as various object manipulations are
far quicker in TAB mode. The video display in the video monitor is not
influenced by the simplified object display.
Visualizer objects
You can load so-called visualizer objects into MAGIX Music Maker 16
Premium (*.vis files). The principle: The sound creates graphic
changes to the visualizer objects. The graphics and structures move
according to the beat of the music.
You can load visualizer objects in the same manner as other objects.
The "Audio & Video Effects" selection button is located on top of the
Media Pool.
The submenu "Visuals" now contains many algorithms for different
automatic animations. Just try them out by dragging an audio object
into the arranger and playing it. If you click on the different visualizers
with the mouse, you will see in the video monitor how the computer
animations mover according to the beat of the music…
Visualizer objects can be used just like video and image objects: You
can drag them from the Media Pool into the arranger and arrange
them as you like.
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Video scrubbing
The scrub mouse mode is particularly useful for quickly finding certain
positions within a video. To do this, activate the scrubb mode in the
mouse mode bar and drag the mouse pointer over a video object
while holding down the mouse key. The video is played back
according to the speed and position of the mouse, including all
effects.
Extract sound from videos
Video with sound material appears in the arranger on two tracks as
two objects (an audio object and a video object). The two objects
automatically form a group.
To edit the video and audio material separately from one another, the
objects can be separated with the Ungroup (see page 291) function
in the "Edit" menu or button in the arranger. Now you can replace the
audio or the video track, or process each file separately.
Rejoin/regroup the tracks with the ”Export arrangement” function.
Video effects
All video effects work in real time. In principle, almost any
combination of effects may be assigned to any video or image object:
For example, mix mode stanzas with a false color effect and a double
playback velocity.
By overlaying of multiple videos or bitmaps, MAGIX Music Maker 16
Premium proceeds from the bottom up. The background video object
must be placed in the upper track. It will be overlaid by and mixed
with objects lying below.
Example, if you want to put a dancer on a landscape, place the
landscape on track 1, the dancer on track 2 and activate the Blue
Screen effect for the dancer.
Video effects are stored in the ”Video FX” directory. Open the
directory by clicking "Templates" in the Media Pool. All video effects
have a preview function and can be dragged & dropped on a video
object into the Arranger.
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Title editor
Text objects and title presets
MAGIX Music Maker 16 Premium includes a function which simplifies
insertion and editing of tracks. This feature is particularly useful for
the karaoke function on the audio FX page, as well as for subtitling
videos.
The basis for this is the "Titles" folder that located as a subfolder in
the MAGIX Music Maker 16 Premium folder. You can access it via the
button in the Media Pool. This directory contains a selection of preset
title templates. To integrate a title template into your project, proceed
as follows:
• Select a file. As usual, a simple click generates a preview. This way
you can see how certain title settings will look and the effect they will
have.
• Once you’ve found the right track, drag & drop it onto a track in the
arranger. It is represented there as a title object.
• The title editor (see above) opens automatically. You can open it
again later by double clicking (or by right clicking in the context menu
below "Title editor").
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Title editor
Enter text of any color or font for subtitles or credits, then choose
from a variety of movements (such as scrolling credits), effects and
designs within the template menu. You can make your credits scroll
up the screen just like in the movies!
Menu presets: The menu contains the title templates from the Media
Pool title folder. This way, you can try out different movements,
effects, and designs. The presets are arranged in various subfolders;
the icon and the description will help you find the template you want.
Save as template: You can save the entire settings ad a title
template. You can then easily drag & drop them from the Media Pool.
Text/position: Type the text for your video subtitles in the title editor.
Use the scrollbar to the left and above the text window to organize
your text in the video screen and position it horizontally or vertically.
You can freely position the writing vertically and horizontally. If you
have selected moving text, this position determines the starting
position. Please note that setting movement to text places the
starting position of the title outside of the video window. You can,
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however, always change the starting position.
Font type: Enter the desired font type, size, color, or type.
Color: Press this button to choose your own color. If you want to
format individual words or letters, select them with the mouse and
choose a different format. If no selection is made, the entire text will
be formatted.
Alignment: Specifies whether the title should be aligned left, right, or
to the center.
Center position: Clicking on “Center position“ puts the title back in
the middle.
Preview: This button starts the title preview in the video monitor
together with the movie or scene. If you have selected a movement
for the title, it will also be animated in the video preview window. You
can interrupt the preview anytime by pressing "Stop".
Text effects: This function allows you to add motion, 3D shadows,
and 3D effects, or a border. The effects settings can be adjusted in
detail using "Advanced".
Length: Set the duration for which you would like to display the title.
If everything is as it should be, close the title editor by pressing "OK".
Video capturings
MAGIX Music Maker 16 Premium can be used with all USB cams,
graphic cards, video cards, or video cards that are compatible with
DirectShow
Video recorders or other devices are connected to the video input of
the video card, TV card or graphic card. If your card also possesses
audio ports, these should be used for capturing and playing back
sound so that the image and sound do not diverge during a lengthy
video.
To record from analog sources:
• Start MAGIX Music Maker 16 Premium.
• Click on “Record Video” and select “Record video”.
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• In the Video Record-Dialog, select the correct videotape and audio
card driver in case you have several installed on your PC. A video
preview window is displayed immediately.
• Name the capturing appropriately so as to be able to find it later.
• You can now select the desired video quality with the fader. The
default setting is the highest quality that your PC system is capable
of.
• Now start the capturing by pressing the “Record” button – end it by
pressing “Stop”. Be aware of the “Drop Frames” notice. If, for
example, more than 10 dropped frames per minute occur, the
quality of your video will be compromised, and your computer may
be overburdened.
• End the video capturing dialog with “OK” You can now view your
capturing in the film bar in the lower third of your screen.
• To check the capturing, start the playback by pressing the space
bar.
Video recording dialog
Video/Audio driver: Here you can set up the video card or sound
card for recording. In practically every case the driver software
supplied with the hardware must be installed.
Save movie file as/Save in folder: Here you can enter the title of the
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movie you want to record. You can also select the folder where you
want to save your video file. This can be changed via "File menu >
Properties > Program settings > System > Path settings".
Record quality: You can choose between various predefined
recording qualities in the list box according to your computer's
processing power and how you wish to use the picture material. They
are listed in order of picture quality. Using "Configuration" you can
fine-tune the quality for the selected preset.
Advanced… – Opens the video driver setting dialog (see page 231).
Record control: Here you'll find the red record and stop buttons.
These start and stop recording.
Preview: On some graphics adapters you can reduce the system
lead by deactivating the video preview. If you hear an "echo",
deactivate the audio preview.
Recording information: Here statistical details on the recording time,
the available disk space, the number of recorded "frames" (individual
pictures), and "Dropped frames". Dropped frames are frames that
have been left out because the computer processor is too slow for
the selected image format and cannot accept all incoming frames.
Advanced configurations in the video capturing dialog
Here you can adjust certain settings for the video recording driver.
These dialog boxes, so-called “property sheets,” come with the video
card drivers. These driver-specific performance properties may
deviate depending on the cards. We also have a very limited influence
on the behavior of these drivers. If you encounter any difficulties,
please contact the video card manufacturer for the latest driver
updates.
Input: Sets the crossbar of the video card.
The crossbar determines which video and audio input signal will be
recorded. The crossbars are connected in series to the video
recording chip itself. In the output field, the video output (for the
crossbars) is the input for the recording chip (video or audio decoder-
in) of the video card. In the “Input” field, select the signal source that
will be used by the video card to capture for this input. Many video
cards have separate crossbars for audio and video. If you have a
problem, try out the different configurations until the right sound
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matches the right image.
Composite-in = the normal video input (typically a cinch jack)
S-video = S-video input (mini-din jack)
SVHS-in = SVHS input (special cable)
Tuner-in = TV signal of the integrated tuner
Imagesetting
Video decoder: If the picture only appears in black & white or it
flickers, the video standard may be set incorrectly. In mainland
Europe, PAL_B is used.
VideoProcAmp: Fine-adjustment of colors, brightness, contrast etc.
We recommend against changing any of the manufacturer’s settings.
Format: Please do not change anything here. The capturing format is
set in the "Recording quality" option in the video recording dialog.
Station selection
This option is only available if a TV tuner is integrated into your video
card.
Video Compression
Compressed video data is typically saved in AVI files. AVI stands for
‘Audio and Video Interleaved’, i.e. mixed picture and sound.
Depending on the compression rate, high data rates will be required
– a good video starts at about 2 MB per second, equivalent to
compression of about 1:10 as opposed to uncompressed video with
20 MB per second data flow rate. High quality video systems only
work with a compression of 3 or 2 – i.e. creating up to 10 MB per
second data for video flow. Even uncompressed video can be used.
MAGIX Music Maker 16 Premium can also process such high-
resolution video data completely. Within MAGIX Music Maker 16
Premium, video data is processed in uncompressed format – all
effects, mixes etc are carried out in the highest quality. It is possible
that replay of a project with several videos or realtime effects may
‘jump’ more than is the case with smaller videos. This does not harm
the end result though – video export is calculated frame by frame.
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Choppy or uneven playback
Don't panic if the picture on your screen is choppy or uneven. The
finished product will look perfect and play smoothly. Don't forget that
MAGIX Music Maker 16 Premium calculates all effects in real time.
This lets you see for yourself what sort of influence each of the
effects will have on your video footage. Some effects make even
today's high-performance PCs work quite hard, and often, a steady,
continuous video stream is simply not possible on your PC. The final
product, free from previous choppiness, is only available after
rendering it to DVD or exporting it. For that reason, you should first
edit the movie in its raw version without effects. The preview
generally delivers a steady picture, allowing you to work quickly and
quietly. Towards the end, you can add effects to your movies to give
them a special touch of Hollywood!
General notes on AVI videos
The AVI format (Audio Video Interleaved) isn't actually a proper video
format! Rather, it is a so-called "container", where the conventions for
transferring audio and video files to the program are only loosely
defined. The codec (coder/decoder) actually defines what storage
format is used. A codec compresses audio/video data into its own
unique format which can only be read by the codec itself and is
decoded when the film is played.
In concrete terms, a computer-generated AVI file can only be loaded
by and played on a different computer if the same codec is installed
on it.
Many codecs (e.g. Intel Indeo® video) have now become standard
components of the Windows™ installation. Others like the popular
DivX codec are not standard. If you are generating an AVI file for
future play on another computer using one of these codecs, you
should first install this codec on the other PC. The best method
available is to copy the codec installer to your export directory and
burn it every time you create a video disc (slideshow disc) for play on
computers.
You may encounter some problems when using older video editing
cards with codecs which only function with the card’s hardware.
Such AVIs can only be used on the computer which was used to
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create them. Try to avoid using this kind of codec.
Create a video project for the Internet
Internet video formats such as RealVideo, Windows Media, and
Quicktime Movie can be found in the "File > Export arrangement"
menu. When selecting one of these options, the current arrangement
will be converted into the target format.
The Internet video formats are different from normal AVI files in two
ways:
• Streaming capability: Modern Internet browsers can play
RealVideo, Windows Media and, to a limited extent, also Quicktime
videos even during the downloading process, whereas normal AVI
files must be completely downloaded prior to the start of playback.
• Lower data rate: Internet formats, especially RealVideo, are
optimized for the lower data rates used by today's Internet access
devices. A dialog appears on export, for setting the playback data
rate (i.e. dial-up modem, or high-speed access). If you use Windows
Media or Quicktime videos for the Internet, choose a suitable codec
and use a small pixel resolution to set up the necessary data rate.
Video export via TV-out
Video and graphics cards with a TV out socket can also export
videos directly to external video recorders. The arrangement must be
played in full screen mode when saved with external equipment.
Note: With many graphic cards, the tv output can only be activated
when a television or video recorder is connected before turning on
the computer!
Switch the video monitor to full screen mode with Alt+Enter and start
the playback by pressing the space bar.
You can play the video directly from the arrangement. However, it
can sometimes lead to errors if the processor becomes overloaded
as a result of processing the audio and video effects in real-time.
If direct playback doesn’t work without causing errors, export the
arrangement to the AVI video and load it into a new arrangement
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which will then play without any problems.
Occasionally, it is enough to just mix the soundtracks of the
arrangement into one. To do this, use the menu command “Edit” >
“Audio mixdown”.
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Automation curves
Alongside the object-based effects and the mixer effects for entire
tracks/for the entire sound, there is also the option of controlling
audio and video effects via freely drawn curves.
There are track curves and object curves. The track curves are saved
on the track and influence all objects of the track. The object curves
"hang" off the object and can be moved with them. Changes to the
object length are adapted correspondingly.
Selection and editing of the object curve effects takes place in the
"Dynamic effects editor" dialog. This can be opened with the
command "Object automation" or "Track automation" from the menu
"Effects -> Automation" (key: "Ctrl + H / Ctrl + J).
"Dynamic Effects Editor" dialog
Here you can activate different effects to be controlled by a definable
curve. Every effect is categorized into a group. Activated effects are
check-marked and are separately listed in the bottom part of the
dialog under "Active Effects". The bottom part of the dialog lists all
the audio and video effects, which are currently activated and which
can be adjusted using the corresponding curve.
For each of the selected effects a curve is created which is placed
over the object. The greater the curve, the greater the effect. The
effect curve can be also be edited in the "Dynamic Effects" dialog.
For clarity purposes, not every effect curve can be shown
simultaneously. In the "Dynamic Effects Editor" dialog select which of
the active effects should be visible as a curve in the object. To do so,
click on the active effect whose effect curve you wish to display
(right-hand side of the dialog).
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Delete envelope: Deletes the current effect curve.
Invert envelope: Mirrors the current curve on the horizontal 0-axis.
Rhythmic envelope: This options creates a rhythmic curve, either via
the Generator or – for audio objects – via volume analysis of the
object.
Dynamic effects
The following effects can be controlled via the effect curves:
• Volume and Panorama are identical to the functions in the mixer,
whereby a volume curve is added to the mixer setting and a
panorama curve entirely replaces the mixer setting.
• Softening and sharpening filters as well as distortions are additional
effects only available for effect curves and independent of the filter or
distortion effect in the effect rack of the object or the track.
• FX Level 1 and 2 control the effect share that is sent to the two FX
tracks (see page 243) from the object or track.
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Rhythmic envelope
This option creates a so-called 'envelope' for controlling effects. It
'envelops' the audio files on the track in different ways. In this
manner it is possible to directly control effects by rhythm of the
music.
After you have called the option 'rhythmic envelope' in the 'dynamic
effects' dialog, a selection dialog appears where you can define the
shape of the envelope more closely.
Beat-based: With this option, the shape of the envelope and thus the
effect portion in the video follows the beat of the arrangement. Four
different basic shapes are available for the beat-based envelope: 2
saw-tooth shapes, rectangle and triangle.
These shapes are regularly run through the video (visualized) in time
with the beat and control the intensity of the activated effect.
On the left side of the dialog you can adjust whether the basic
envelope shape is to be run through once per eighth, quarter, half or
whole note.
Options: This takes you to an additional dialog, which determines the
direction and strength of the beat influence on the envelope.
Scan envelope: As an alternative to the beat-based envelope, the
volume course of an audio track can be used as an envelope for the
video. Loud passages make strong video effects, while quiet
passages create weak effects. In this way, a drum loop can, for
instance, control the distortion of a dancer.
Normalize first: With this function, the level of the audio object is
normalized first before the object is scanned to create an envelope.
(See also 'audio effects', section 'normalizer' in this regard).
Curve Generator - Options
Limitation: Specifies the minimum and maximum envelope value.
Delay at minimum/maximum allows you to further alter the curve
shape of the pre-defined basic shape. Shift moves the entire curve,
which lets you create interesting beats. This lets you create
interesting offbeat effects.
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Editing the effect curve in the dialog
Standard mode: Before playback, it is possible to use a slider at the
start marker position to create an effects curve point and move it
vertically. You can edit an effects curve by setting the start marker at
different positions and setting the curve value for this point with the
slider.
Draw mode: Move the slider in the dialog (when playback is stopped)
and a curve will be drawn in the track between the start and end
marker accordingly. The duration of the drawing process
corresponds the duration of the object, and the range between start
and end markers in the case of track curves. Furthermore, if
Automation (see page 60) mouse mode is activated, the curve can
also be drawn with the mouse. This also works during playback.
Adjust active: Specifies object curve behavior if the length is
changed retroactively. If "Adjust active" is on, the object curves are
compressed and stretched with the objects, i.e. the curve points are
moved correspondingly. For instance, if a movement curve is set so
that an object is moved across the entire screen, then this is also
done in case the length is changed (only slower or faster). This option
has no function with track curves.
Editing the effect curve in the arrangement
In the arranger, only one object and track curve can be edited at a
time. The "Dynamic effects editor" can be kept open during editing so
that you can switch between the curves.
The volume and panorama curves of an object may also be
hidden/shown via "Effects -> Automation".
The curves can either be edited with the individual handles or by
freely drawing the effects curve (in Automation (see page 60) mouse
mode).
New handle points can be added by double clicking on the curve;
existing ones can be deleted by double clicking. All handles can be
moved with the mouse in a horizontal and vertical direction.
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Mixer
MAGIX Music Maker 16 Premium includes a real-time mixer with a
master effects section that professionally mixes all the tracks within
an arrangement. The Mixer can be opened by pressing the "M" key
or via the toolbar in the main window (also: "View" menu > "Mixer").
The Mixer displays eight tracks simultaneously by default. With the
«/» buttons beside the scroll bars at the bottom, the Mixer can be
increased or reduced in size. You can view further tracks using the
scroll bar.
The limiter, which prevents overmodulation, can then
be connected.
Fader
Every channel has its own volume or brightness fader. As a result, the
volume can be lowered quickly and accurately, to add more bass or
to fade out a video that is just playing. This fader also acts on any
linked MIDI files.
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The stereo position for each track can be defined with
the Pan controls.
The "Solo" button switches a track to solo mode, i.e. all other tracks
are muted. Mute: The mute button mutes the active track.
Double clicking on each of the controls resets it to the passive basic
setting, in which no processor output is needed.
Control groups
The volume, panorama, and FX send faders of the various tracks can
be compiled into control groups. To do this, first click on a fader and
then, while holding down "Ctrl", click on all other faders that you wish
to include in your group. If you select "Shift", all faders in between the
first one selected and the next one will be grouped.
Now you can set the volume of multiple tracks together without
having to change the volume ratios of the tracks. For example, you
can set the volume of an individual instrument of a drumset (kick,
snare, HighHat) in such a way that they can harmonize with one
another. Now, if you group together the volume faders of the tracks,
you can set the master volume of the drumset.
To ungroup a fader from a control group, click the instrument and
press "Ctrl" again. There may only be one control group active at a
time, creating a new group automatically deactivates an existing
group.
Track effects
Besides the object audio effects, a separate track effects rack with
equalizer, reverb/echo, compressor as well as the Vintage Effects
Suite plug-ins can be used.
There is also a separate 4-channel parametric equalizer
(see page 194) that may be opened via the small EQ
button beside the panorama controller.
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The plug-ins are loaded via the plug-in slot.
You can open the track audio effects rack with the FX
button.
A bright blue track effects button signifies that effects are active in
the track.
The track effects can also be applied without having to open the
mixer.
The arranger's trackbox also features the track FX menu.
In it, you will find presets for track effects (see page 167)
sorted according to the instrument type.
Track effects always apply to all audio objects of a track. In
comparison to applying an effect to each object individually, this
saves storage space. The effect itself works the same way as object
effects.
For more information on using and controlling the individual effects,
please read the chapter Audio effects (see page 165).
VST and DirectX audio plugins
MAGIX Music Maker 16 Premium supports VST and DirectX audio
plug-ins. Most of these are effects modules such as reverbs,
equalizers and so on, but there are also many software synthesizer
modules as well as other types of controller modules. Thanks to their
standardized formats, these plug-ins can also be used in the mixer
section of MAGIX Music Maker 16 Premium.
Before DirectX plug-ins can be used, the DirectX system needs to be
installed on your computer. Manual installation is rarely required as
most Windows installations include DirectX. If, however, your
computer does not have DirectX or just an older version, you can use
the up-to-date DirectX installer provided on the MAGIX Music Maker
16 Premium installation CD.
Naturally, the DirectX plug-ins themselves also need to be installed
before they can be used! Installation procedures may vary from plug-
in to plug-in.
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Two so-called slots for track effects are located in the
channel strip of the mixer for the corresponding track as
well as in the FX tracks.
Clicking on the small triangle will let you select an effect from the list.
Select "No effect" to remove a plugin from the slot. A left-click
temporarily disables the plug-in. Active plug-ins are displayed in light
blue. Right-clicking on the slot opens the settings dialog of the plug-
in.
FX tracks
Two FX send controllers (FX1 and FX2) are located below
the plugin slots.
You can determine the volume at which you want the signal to be
routed to the two available FX tracks.
An FX track is a complete, additional mixer track which provides a
complete track FX rack and two plugin slots for use as a send effect.
A send effect differs from a normal effect found in the track (Insert)
insofar as it can edit the signals from multiple tracks or objects
simultaneously.
The FX are usually hidden in the Mixer. They will be displayed as soon
as one of the FX send controllers is used.
In the first FX track the hall function is activated as standard as it is
the most important application of the send effects.
The volume controllers serve to regulate the volume of the FX track
and corresponds to the old AUX return controller. The mute button is
used to switch the FX function on and off. The solo button enables
you to single out FX individual tracks. The peak meter of the tracks,
which send to the FX track, are displayed in grey.
Live monitoring
Click the speaker button in a mixer channel to activate "low
latency" monitoring.
Instead of the objects, the channel now plays the audio signal arriving
at the sound card’s input – through all the channel’s effects and
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without latency! This also applies to the AUX and master effects.
You can now add effects to your vocal or instrumental performance
while recording them, and you can ‘
jam’ along to a complete arrangement in real-time. (Please note that
this only works during recording and playback, not while the
arrangement is stopped.)
This monitoring method requires an ASIO driver to be installed. ASIO
drivers are usually supplied with professional sound cards. For all
cards without a proprietary driver, MAGIX has included a MAGIX Low
Latency driver. This provides an ASIO driver for any sound card (or
on-board sound chip) that can use WDM drivers. For further
information, please refer to the chapter "Menu File –
Settings/Information – Playback parameters…"
The MultiMax effect has a high-latency design, which is why it is
deactivated during live monitoring.
Master track
The FX button and the plug-in slots function exactly like in the tracks.
The FX button will open the Master Audio Effect Rack. With the
Reset button you can reset all Mixer settings including the FX tracks.
MAGIX Mastering Suite: the MAGIX Mastering Suite (see page 193)
is opened here.
5.1 Surround: This button switches the Mixer to Surround Mode (see
page 248).
Both faders control the total volume.
Link buttons: If you deactivate this, you will be able to
control the volume of the right and left channels
individually.
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5.1 Surround
MAGIX Music Maker 16 Premium supports playback in real 5.1
Surround.
Requirements
You will require a sound card or a sound chip which is integrated into
the computer's motherboard with six individual outputs to playback
the individual channels:
• front left (L) / right (R)
• centre (C) / subwoofer (LFE)
• back left (Ls) / right (Rs)
Surround playback is possible with all audio driver models (see
Playback settings), (Wave, DirectSound, ASIO).
DirectSound is supported by most of the standard sound cards.
Wave drivers are similarly supported by many standard sound cards;
however, individual sound cards (for example, Soundblaster) require
access to DirectSound.
Note: 24-bit Surround playback is often not possible, therefore
please select 16-bit output.
For Surround output with ASIO drivers, you will require a 6-channel-
capable ASIO driver (e.g. MAGIX Low Latency). Older multi-channel
audio cards that activate their stereo output couples via multiple
separate drivers are not suitable.
Output of the six output signals is achieved in all driver models in the
output channels in the same (standardized) order:
Channels 1/2: L-R
Channels 3/4: C-LFE
Channels 5/6: Ls-Rs
When using WAV or ASIO drivers, the loudspeaker settings normally
have to be changed to 5.1 playback in the control panel.
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In order to do this you have to start the Control Panel for "Sounds
and audio devices" and select "Loudspeaker settings", "Advanced",
"5.1 Surround loudspeakers".
On most systems the program does this automatically while using
DirectSound.
Import and export of surround audio files
Import
Interleaved 6-channel Wave files and MP3 Surround files can be
imported. On loading, these can be transformed automatically into 3
stereo Wave files and the corresponding track settings can be
activated (First track L/R, second track C/LFE, third track Ls/Rs).
Export
Surround exports can occur in any one of the following formats:
• Interleaved 6-channel Wave files
• MP3 Surround files
• Windows Media files (Windows Media Audio or as a surround
soundtrack of a Windows Media Video).
The files created are fully compatible with the normal file formats, this
means that they can also be played on computers incapable of
playing surround (in normal stereo).
The export can be implemented with the same menu commands (for
example, Menu File -> Export arrangement -> Audio as Wave) like the
normal stereo export. You will then be asked if the export should be
in stereo or surround format.
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The Mixer in surround mode
To activate Surround playback, open the mixer ("M" key) and click on
the "5.1 Surround" button in the master.
In the master, 6 peak meters for the individual channels are shown.
The normal panorama button turns into a representative display of
the Surround editor (see below (see page 248)) which can be opened
by clicking on the display.
The Surround editor is also available to the FX tracks (see "Mixer").
For example, you can send the original track to the front loudspeaker
L/R, the FX track however will remain at the rear loudspeakers Ls/Rs.
The master volume is applied to all channels, here the left controller
influences channels L and Ls, the right controller; channels R and Rs
and the middle value of both controller; the channels C and LFE.
The master plug-ins are only applied to the front channels!
In the master FX rack of the MAGIX Mastering Suite, the full effect
palette is not available in 5.1 Surround mode, but rather only the
compressor and the parametric equalizer (see page 194) (from the
Mastering Suite). The settings of these effects have the same effect
on all six channels.
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5.1 Surround Editor
In the 5.1 Surround Editor of the mixer track you can arrange the
audio signal of a track (displayed as two red sound sources) in the
“imaginary” room. The signal is dispersed to the 5 (blue)
loudspeakers which represent the individual surround channels.
There are 6 channels
L: front left
R: front right
C: Center
Ls: back left/left surround
Rs: back right/right surround
LFE Subbass (Low Frequency Effect) channel
Dispersing the signal to the 5 loudspeakers occurs after the so-called
sound source emits a sound field of a certain level (displayed as red
circles). The further away a loudspeaker’s source is, the lesser its
share of the corresponding loudspeaker channel. The position of the
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loudspeaker can be moved with the mouse.
The subbass share (LFE) is set directly from the corresponding value
table. It can also be changed with the mouse.
There are various modes in which you can use the source signal:
Mono: The (stereo) source signal is seen as mono material, the left
and right channels are mixed together and arranged together. The
original stereo information is lost here.
Stereo 1: Similar to mono mode insofar as the left and right channels
are moved together, however, only a portion of the left source is
audible in the loudspeakers L and Ls and only a portion of the right
source in the right channels R and Rs. The stereo information
remains as intact as possible.
Stereo 2: The left and right channels can be arranged independently
of one another, when moving the left source, the distance between
the left and right sources remains unchanged. You can move an
individual source by holding down the Alt key.
Center/LFE: Only the left channel is arranged. In return, the LFE
share is drawn solely from the right channel. This mode is only of
importance to the Import of surround material (see page 246).
“Width” determines the level of the sound field of an individual
source.
Automation
Panning of the sound source on the loudspeaker can be automated
to simulate movements in the room.
For this to happen “Automation” must be activated. There are two
methods to create automations: record and draw.
To record (when automation is on), the sound source is moved
between the loudspeakers during playback. When recording the
automation, the “Record” checkbox lights up red.
An alternative to drawing out complex movements is the draw
function. When drawing in active mode, all panner movements are
transmitted to the time interval between the start and end marker
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(when the mouse button is held).
“Reset” deletes surround automation from the track.
There is no automation of the parameters for width and LFE, of the
distance between the left and right source in “Stereo 2” mode, or of
the loudspeaker positions.
Integrating other programs -
Synchronizing and ReWire
MAGIX Music Maker 16 Premium enables other programs or external
MIDI hardware (e.g. Grooveboxes, hardware sequencers) to be
remote controlled via MIDI synchronization or to be controlled by
these devices. Synchronization means that both components
involved always use exactly the same tempo and operate at the same
time position.
ReWire technology makes it possible to play ReWire-capable
programs like Propellerheads Reason or Ableton Live in MAGIX Music
Maker 16 Premium just like a software synthesizer via MIDI objects.
Synchronization
Sometimes MAGIX Music Maker 16 Premium is not enough on its
own. A friend has a Groovebox and wants to jam...
If two software or hardware sequencers (devices like Grooveboxes or
keyboards) are intended to play music together, then it's important to
synchronize them.
Why is this necessary
You would have to be pretty skilled to be able to play both programs
or devices at the same time - there would most likely be problems
with time delays, and as soon as one side pauses or skips forward,
chaos is fairly likely the result.
Even when playback is started simultaneously (synchronously), the
sequencers can get out of beat over time, since even if tempo is
programmed on both sides, this will never truly match 100%.
Software sequencers determine the tempo based on time which is
derived from the sample rate on the sound card. Theoretically, this
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has a fixed, predefined value, e.g. 44,100 Hz, but in practice, this
value can deviate so that the real tempo is slightly faster or slower
than what is displayed.
Therefore, synchronization means that one side constantly receives
information about the current time position from the other, and that
the position and tempo is corrected correspondingly to result in a
match. This includes provision of all transport functions like start
stop, or jump to a specific time position.
The side which sends the synchronization information is called the
Master, and the side which receives the information is called the
Slave.
MAGIX Music Maker 16 Premium can run in both of these functional
modes. For synchronization, the protocols MTC (MIDI time code) and
MMC (MIDI machine control) are applied.
For synchronization, a normal MIDI connection is required, i.e.
depending on the operational mode, you connect a MIDI output (MIDI
OUT) on the computer with the MIDI input (MIDI IN) on the other
computer/device for master synchronization or other way around
(MIDI input on the computer with the output on the other machine for
slave sync).
Activate synchronization in the dialog "Arrangement settings" ("E")
under the "Synchronization" tab.
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Synchronization settings
Receive synchronization (slave): Slave sync on. MAGIX Music Maker
16 Premium follows the tempo and transport control of the external
device/program.
Device: Here you have to select the MIDI input driver via which
MAGIX Music Maker 16 Premium should receive the MIDI timecode.
Framerate: The master and slave framerates must match.
Synchronization with video programs/video hardware matches the
framerate of a specific video format, e.g. 24 for cinema, 25 for PAL
video audio synchronization, 29.97 drop/no-drop or 30 for NTSC
video.
Preroll frames: Here you can enter a frame number that MAGIX
Music Maker 16 Premium will ignore before synchronization starts.
This will ensure that analog devices first require a certain time to
reach the correct speed. In order to prevent synchronization of
MAGIX Music Maker 16 Premium to an invalid time, this can be
skipped by means of preroll frames.
Send synchronization (master): Master sync on. The external
device/program follows the tempo and transport control in MAGIX
Music Maker 16 Premium.
Start offset (ms/SMPTE): Specify an offset in milliseconds or SMPTE
frames (minutes:seconds:frames) to be deducted from the incoming
timecode before the time is used for synchronization. An offset of
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60:00:00 (1 hour) will synchronize a tape with an SMPTE code that
starts at 1 hour; MAGIX Music Maker 16 Premium however still starts
at the tape beginning at "0". Vice versa, sending a timecode snaps
this value to the current position.
Correction factor: Normally, this value should be at "1" if you don't
change it. In seldom cases, synchronization of MIDI and audio can
run apart for longer arrangements. You can accelerate the speed of
the MIDI playback in this case by slightly increasing this factor (e.g. to
1.000001).
MMC settings: Open the dialog for the MMC protocol settings (see
page 253).
MIDI Machine Control (MMC)
MMC modes
The synchronization window provides settings for remote control via
MIDI Machine Control. MAGIX Music Maker 16 Premium supports
synchronization of external devices via MMC. Three working modes
are provided:
Receive MMC commands (slave): If you have set up MAGIX Music
Maker 16 Premium to work as a slave, activate this option. MAGIX
Music Maker 16 Premium keeps track of the JOG shuttle operations
and fast forward and rewind commands of external devices. MAGIX
Music Maker 16 Premium also receives the current playback position
of the device and displays it as an additional blue cursor on the
timeline.
Send MMC commands (master): MAGIX Music Maker 16 Premium
operates as master. The external device follows the time position
every time the playback cursor moves to a certain position within the
arrangement.
While playing a range in MAGIX Music Maker 16 Premium, the MMC
device stops once the end of the range is reached. If this option is
activated, the start and stop commands sent by the space bar only
control the MMC device.
Use transport console as remote control for external device
If you activate this option, the transport control no longer controls
playback and recording directly within the program but instead
controls the external MMC device. Play, stop, fast forward, rewind,
and fast rewind no longer have any direct effect on playback. The
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record button starts recording in synchronization with the playback of
the MMC device.
Use the space bar to start playback remotely: If this option is
activated, the start and stop commands are controlled via the space
bar on the MMC device.
Advanced options
Input MIDI device: Here you can set the MIDI device via which
MAGIX Music Maker 16 Premium should be controlled.
Output MIDI device: Select the MIDI device which is connected to
the device you want to control remotely.
MMC input ID: Enter the MAGIX Music Maker 16 Premium input ID
here. Normally this is "All".
MMC output ID: Set the input ID of the MMC device you wish to
control remotely. Normally this is "All".
ReWire
If this option is activated, ReWire-compatible client applications (like,
for example, Propellerheads Reason) can be integrated into MAGIX
Music Maker 16 Premium as synthesizers.
Activate the ReWire function in the arrangement properties ("E")
under the "Synchronization" tab.
Afterwards, installed ReWire applications can be loaded as
instruments into a track. All ReWire client applications appear as
individual sections in the selection menu for software instruments in
the track box and in the MIDI editor and are loaded as software
instruments (VSTi).
Several client applications can be opened automatically by right
clicking on their name in the selection menu, just as you can open the
plug-ins window for VST instruments by right clicking. ReWire clients
which support the direct opening of the client application via the host
application (MAGIX Music Maker 16 Premium) need to be started
manually. You can do this by starting your client application as you
would normally. It then automatically recognizes the host and starts in
a special client mode. The client application should always be
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launched after MAGIX Music Maker 16 Premium and should be
closed before exiting.
The ReWire application can be controlled via MIDI, just like a software
instrument. The client application runs, starts, and stops
synchronously with the time position in MAGIX Music Maker 16
Premium so that you can also use the sequencer in the client
application.
The "classic" MIDI channel of MIDI notes and events is not important;
it is replaced by the ReWire MIDI bus system. MAGIX Music Maker 16
Premium only sends to the ReWire MIDI bus and only supports the
ReWire master output-side, not the ReWire audio bus system.
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Reprocess arrangement
Export assistant
The export icon on the toolbar opens the export wizard.
This bundles different options for exporting your arrangement in
different formats, for burning onto CD, or publishing on the Internet
with different platforms.
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Export as MP3: This selection exports the arrangement in the
popular MP3 format for use on the Internet or on mobile playback
devices (Mp3 players, mobile phones, etc.). For details about the
export dialog, please see the chapter concerning the file menu,
particularly the "Export (see page 270)" section.
Burn to CD/DVD: This selection exports the arrangement in the best-
possible quality and opens an additional program for burning an
audio CD. The option is also available to backup the entire
arrangement with all involved files onto CD or DVD. See Burn audio
CD (see page 267).
Upload to MAGIX Online Album laden: Uploads the arrangement to
MAGIX Online Album. This platform enables friends and
acquaintances to experience your work. The MAGIX Online Album
online player may also be embedded into any other websites. More
information about MAGIX Online Album is available in "Online (see
page 309)"
Publish on MySpace™: There is a special MAGIX Online Album
upload for the MySpace social network which automatically creates
the HTML code for embedding your song on your MySpace profile.
More about this is available in Adding songs to your MySpace profile
(see page 264). You may also upload your song to the DJ Tunes
community via this selection. This requires registration with the DJ
Tunes.
Publish on YouTube™: This selection uploads the arrangement as a
music video to YouTube. To use video in MAGIX Music Maker 16
Premium read the chapter video and image objects (see page 223).
More info about YouTube™ export is available in "Export to YouTube
(see page 264)" in this chapter.
Send via email: Converts the arrangement into Windows Media and
adds it as an attachment to an email. An email program (e.g. Outlook
Express) must be installed and setup.
Note: If you only use browser-based email, then this function will not
be available. However, you could invite others to listen to your
uploaded music via email to your MAGIX Online Album or Youtube™.
To do so, you will have to use the functions of the respective website
(for MAGIX, this is MAGIX Online Media Manager).
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Export as email attachment
The option "Send arrangement as email" in the "File" menu >
"Internet" creates a file in the Windows Media format. Your mail
program is activated simultaneously and the created file of an opened
message is added as an attachment. Thus, any arrangement can be
compressed without intermediate steps and sent as an email
immediately.
Export as ringtone
With MAGIX Music Maker 16 Premium you can produce your own
individual ringtone melodies. Once completed, export the
arrangement using the "Audio as ringtone" option in the File menu.
In the export dialog you can select various formats for which useful
tips and tricks are also available.
Some advice on creating ring tones
Audio material: When designing your ring tone please take into
account that the loudspeakers of your mobile phone can only poorly
reproduce bass tones. High tones are also heard more easily in a
loud environment. If your ring tone includes MIDI Objects, you should
activate VST Instruments on the respective tracks in the
arrangement, so that MIDI information included in your ring tone
becomes audible.
Some manufacturers offer VST effects which simulate the
loudspeaker of your mobile phone on the PC.
Length: Typical ring tones have a length of about five to sixty
seconds. MAGIX Music Maker 16 Premium lets you create longer ring
tones; however, you should note that large ring tone files require
sufficient memory in your mobile phone.
File format: First, select a format suitable for your mobile phone from
the Export dialog. If several formats are possible, please note that the
resulting audio quality will vary. In general, the quality increases in
tandem with the size of the file. If your mobile does not support
stereo audio playback, you can activate the "mono" export option
which reduces the required memory space by about half. The size of
the file that will be generated using your current settings is displayed
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in the Export dialog.
Transferring the ringtone to your mobile phone: Depending on the
type of mobile phone and the items included in delivery there are
several possibilities to transfer your ringtone from the PC to the
phone:
1. Wireless via infrared (IrDA) or BlueTooth link
2. Using a data cable and, if applicable, the transfer software
supplied by the manufacturer
3. By WAP or MMS
Transfer with Bluetooth
Warning! The procedure described here refers to Windows XP with
Service Pack 2!
Dialogs may be different depending on the Bluetooth driver and
operating system version, or their order may vary (e.g. for password
allocation) when transferring to your mobile phone. However, the
process is usually similar if other drivers are used. Read more on this
in the help file or the corresponding chapters of your operating
system's manual and Bluetooth adapter.
• If you own a Bluetooth device, you can export the movie straight to
your device. To do so, your device and your PC must both have
Bluetooth interfaces. If your system has a Bluetooth device, you can
activate the "Transfer via Bluetooth" option.
• After converting the movie into the desired format, the Bluetooth file
transfer assistant opens.
• The first time you try to transfer files to your device via Bluetooth,
you have to specify your device as the receiver in the dialog by
clicking on "Search...", selecting your device and then pressing
"OK". The name of your device in the Bluetooth network is specified
in the Bluetooth settings of the device. Check your device manual for
this. Select your device and confirm your choice by pressing "OK".
• Now enter a password of your choice, which you will later have to
confirm on your device and click on the "Continue" button in the
assistant. Since connections between multiple Bluetooth devices
can be set up simultaneously in a room, the password serves to
identify certain connections as well as to safeguard your data.
The order may be the other way around, depending on the Bluetooth
device driver, i.e. the mobile phone will request a password which
must be confirmed on your PC. It's important that you use the same
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password in each case.
• You may be asked once again to enter the file name and path of the
movie. In this case, we recommend using a folder that you will be
able to find again quickly to export the file (e.g. "...My Files/My
Videos").
• Click the "Scan..." button, open the set up folder, and select your
video file by double clicking it. Now, in the wizard, click the
"Continue" button.
• Next, you may have to activate the reception of files on the device
and re-enter the password. Afterwards, the transfer of the videos will
begin automatically.
• Once the transfer has been completed successfully, "1 new
message" will display on your device. Read more on how to save
and play videos in the corresponding device manual.
Warning! We only recommend activating data reception via Bluetooth
on your device once this function is actually required, e.g. for
transferring files. Once you have completed the uploading process,
you should deactivate Bluetooth again, since permanently activated
Bluetooth reception constitutes a security risk!
Transfer via infrared
For devices with infrared interfaces, the transmission of movies works
similarly to using the Bluetooth transfer method. To do this, your PC
and your device have to have infrared interfaces. Many notebooks are
already fitted with such IrDA interfaces.
• Before starting the export, an infrared connection must already be
established between the computer and the device. Activate the
infrared interface on your device and establish the connection to
your computer. You can check if a connection has been established
via a corresponding symbol in the task bar. More information on this
can be found in the Windows help under the keyword "Wireless
connection".
Note: Some devices deactivate the infrared interface when no data
is exchanged after a certain amount of time. In this case, you can
search for the exported movie in the Media Pool again, reactivate the
infrared interface of your device, open the context menu of the file,
and then send the video to your device again by clicking "Transfer".
• Open the "Export" dialog via the export button, and under "Play after
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export", select the option "Export with infrared". Confirm with "OK".
A window will now be displayed which informs you of the current
status of the transmission.
• Once the transfer has been completed successfully, "1 new
message" will display on your device. Read more on how to save
and play videos in the corresponding device manual.
Podcasting
Podcast is the name for a relatively new Internet transfer form. It is
made up of "pod" from "iPod", the name of a popular portable MP3
player, and the term "casting" for broadcasting content to a wide
group of listeners/viewers.
A podcast is therefore something like an online radio station.
"Broadcasting" web radio stations means you can only listen to and
record the currently broadcast radio station. Podcasting is different.
You as the listener can subscribe to the podcast and the files will be
downloaded at a specific time and you can listen to them whenever
you like, for example, on the move with your portable player. The
shows are pre-produced and placed on an Internet server for
download.
Export as podcast
Select the "Upload arrangement as podcast show (audio)" in the
Online > MAGIX Podcast Service menu and the exciting journey of
your podcast to the pages of the largest podcast providers begins.
The first stop is your personal MAGIX Online Album, the place your
podcast will call its online home. From here it can be accessed from
anywhere in the world. Login with your password or register.
Your free MAGIX Online Album with 128 MB webspace can be set up
at any time. It will then be available to you from anywhere in the
world.
When uploaded via the "Make podcast" button the podcast will be
sent to your personal MAGIX Online Album. In the MAGIX Online
Media Manager of your MAGIX Online Album the cast can now be
found in its new format in the newly created folder "My podcasts".
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Now take a look at your album website: Here you can listen to the
cast on your own website. You will immediately notice the small
button "Subscribe to RSS feed" which allows any user of your MAGIX
Online Album to automatically receive podcasts now and in future.
How is your podcast distributed?
Your RSS feed - the technology behind a podcast - will automatically
guarantee that your podcast will be sent from your MAGIX Online
Album to many large podcatchers, including MAGIX Podcast Service.
Here your podcast can now be subscribed to by a worldwide
audience. Currently, a podcast created with MAGIX Music Maker 16
Premium and uploaded to MAGIX Online Album is sent to 10-20
international podcatchers. The distribution depends on the topic of
the podcast.
You may even find your podcast via a search engine without knowing
how long the journey of a cast over the web may be.
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Upload podcast
With "Upload arrangement as podcast show (audio)" you can publish
your arrangement as a track on one of your podcasts. The Upload
podcast dialog will open. Here the required information for your
podcast track has to be entered.
Add/Delete: Here you can add a picture in JPEG format to your
show. Delete removes the picture.
Short description of the show: This is the name of the show. A
podcast typically contains several shows and new ones are added
regularly. This is not where you enter the name of the podcast to
which the show belongs. You can enter the name when you upload
to MAGIX Online Album. A podcast then corresponds to an album.
Podcast language: This field must be specified correctly as the
podcast databases sort the podcasts according to language.
Show description: It is important to enter a unique show name and
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description so that other listeners will find your podcast.
Author: Here you enter your email address so that you can be
contacted.
Upload podcast: The project is encoded as an MP3 and then
uploaded to the MAGIX Online Album. You can only upload one show
at a time (one file).
Export to YouTube
You can upload your arrangement to YouTube™ directly from within
MAGIX Music Maker 16 Premium.
You can find this function in the menu "File -> Export -> Youtube".
The command opens a dialog where you can set the name of the
arrangement for YouTube (default is the same as in MAGIX Music
Maker 16 Premium), description, keywords (so-called "tags"), and the
category for the video. After submitting this data by pressing "OK",
the arrangement is exported and uploaded to YouTube™. This is why
you have to enter your YouTube™ account access data (username,
etc.) to connect to YouTube™. If you don't have an account open
your browser and go to YouTube™ to sign up for an account first.
If uploading was successful, your browser will open the info page for
the video you just uploaded to YouTube™ to double check your
description and tags. If everything looks correct, just leave this page
and the new video is already listed under your videos. YouTube™
takes some time to process the video for online presentation, but
after this period you and every web user around the world will be able
to watch it.
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Add songs to your MySpace profile
With this function you can add your finished MAGIX Music Maker 16
Premium arrangement directly to your MySpace profile. The following
will happen:
1. The arrangement will be exported to an MP3 file.
2. The file will be uploaded to a MAGIX server. When used for the first
time you have to register for the MAGIX Music Maker song upload.
.
Please enter your name, a valid email address, user name and
password. A confirmation email will be sent to the email address
containing a link you have to click on to finally activate the upload. All
further uploads will be fully automatic so so you won't have to re-
enter your login data. It will be saved in the program.
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3. A dialog displaying the HTML code will open. The "Copy" button
copies the selection to the clipboard.
4. Now log onto MySpace and click on Profile > Edit profile.
5. Enter the code section into one of the fields (click into the field and
press Ctrl+V), to enter HTML directly, for instance, in the section
"Personal information" > Interests". This is where the player will be
displayed on your MySpace profile that anyone can use to play your
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MAGIX Music Maker 16 Premium songs.
You only have to enter the code once as all other songs will be
added as tracks to the player.
Notes:
• If you already own an MAGIX Online Album (see page 309) - account
you can use the login data for the MAGIX Music Maker 16 Premium
upload.
• To edit the track order or delete tracks later you have to register with
your login data at MAGIX Online Album http://www.magix-
photos.com and open the
ONLINE MEDIA MANAGER
there. You can find
uploaded songs in the folder "Music Maker" in your "MySpace"
album.
Upload song to DJ Tunes
Become a part of the largest music communities for dance-oriented
music and earn back the purchase price! Submit via MAGIX Music
Maker 16 Premium directly to DJ Tunes for sale.
Find out more at http://www.djtunes.com http://www.djtunes.com
The website is provided in English.
Create Audio CD
To burn an Audio CD, export your arrangement as a wave file: Click
on "File" and select the "Export arrangement" option > "Audio as
Wave". The WAV file created can be burned as an Audio CD with any
burn program.
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In the Premium version, the burner program MAGIX Goya burnR as
well as the MAGIX Music Editor are at your disposal. You can load
your arrangement into the MAGIX Music Editor with the help of the
option from the menu command: "File" > "Export arrangement" >
Burn arrangement on audio CD-R(W), and burn an audio CD using
this CD mastering tool. Or you can open MAGIX Goya burnR, for
example, with the help of the context menu in the Media Pool. An
MP3 data CD can also be created with MAGIX Goya burnR.
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File menu
New arrangement
A new MAGIX Music Maker 16 Premium arrangement is created with
this menu item, with 16 tracks. More tracks can be added via the
menu “Edit”.
Shortcut: Ctrl + N
Load arrangement
A previously saved MAGIX Music Maker 16 Premium arrangement is
loaded with this menu item. Please note that the object files for the
arrangement must also be available! MAGIX Music Maker 16
Premium will look for the sounds and videos that were used first in
the path where they were located when the arrangement was saved.
If they are not found there, then the MAGIX Music Maker 16 Premium
Arrangement will look for the objects in the same directory as the
arrangement itself.
Shortcut: Ctrl + O
Save arrangement
The current arrangement is saved under the existing name. If no
name has been selected, then a File requester opens, where the path
and name can be defined.
Shortcut: Ctrl + S
Save arrangement as...
This opens a file requester where you can define the path and the
name of the arrangement that is to be saved.
Shortcut: Shift + S
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Export
Burn audio to Audio CD/DVD-(RW)
With this option the arrangement will be exported as a WAV file and
loaded into the CD mastering program MAGIX Music Editor. From
there it can be burned straight to disc.
Shortcut: Alt+Shift+A
Audio export dialog
File
In File you can enter the file name for you exported file.
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Use the folder symbol to select the folder into which you want
to export it. The dialog will remember the export path for future
exports.
Use the "home" symbol to restore the original preset path.
With "Overwrite file automatically" you can perform multiple exports
from the same file.
Options
Only export the area between the start and end markers: Set the
option if you wish to export only one of the clippings from the
arrangement.
Bit rate: The "Bit rate" selection specifies the level of compression:
The higher the bit rate, the higher the quality of the exported audio
file. On the other hand, the bit rate determines the final file size: The
smaller the bit rate, the smaller the files.
Mono/Stereo/5.1 Surround: Most mobile devices have only one
loudspeaker. To save on memory, you can export in mono as well. In
5.1 Surround Mode (see Mixer in Surround Mode (see page 247)) you
can also export in MP3surround.
Advanced: Here you can open the advanced settings dialog for the
corresponding audio format (see below).
Normalize: This function should always be activated. It guarantees
that the music is not too loud/overmodulated or too quiet.
Transfer format:
Here you can state whether you want to send he exported
arrangement to mobile devices via Bluetooth, infrared or email. Read
more in the Reprocess arrangement (see page 255)chapter.
Audio as Wave
The audio material is exported as a standard wave file. This is the
standard format for further use on Windows PCs. These files are not
compressed and retain their full sound quality.
Shortcut: Alt+W
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Audio as MP3
MAGIX Music Maker 16 Premium supplies an optional MP3 encoder
for especially fast and good-quality conversions into the popular MP3
audio format.
Hint: The MP3 encoder cannot be used as a codec for the audio
track of AVI audio files.
Transmission format
Here you can specify how you wish to send the audio file to the
mobile device. Read more on this under Transferring files (see page
258).
Options
In the "Options" section you can set the format and the compression
of the audio file.
Bit rate: The "Bit rate" selection specifies the level of compression:
The higher the bit rate, the higher the quality of the exported audio
file. On the other hand, the bit rate determines the final file size: The
smaller the bit rate, the smaller the file.
Mono/Stereo/5.1 Surround: Most mobile devices have only one
loudspeaker. To save on memory, you can export in mono for these
devices. In 5.1 Surround mode (see Mixer in Surround mode (see
page 247)) you can also export in MP3 Surround.
Note: Before you can use the MP3 encoder, you will have to activate
it. Activation is fee-based! For more information, read the Activate
additional functions (see page 320) chapter.
Normalize: This function should always be activated. It guarantees
that the music is not too loud/overmodulated or too quiet.
Keyboard shortcut: Alt + M
Audio as Ogg Vorbis
"Ogg Vorbis" is a royalty-free Open Source audio codec with a high
sound quality but relatively small data volumes (comparable to MP3).
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Shortcut: Alt + Z
Audio as Windows Media
Exports the arrangement in Windows Media Audio format. Please
read more on the advanced settings in the Windows Media Video
Export (see page 276) section.
Keyboard shortcut: Alt+E
Audio as AIFF
The audio material is exported as an AIFF file. This is the most
commonly used audio format for Apple™ computers.
Shortcut key: Alt + F
Upload audio to MySpace/DJ Tunes
The audio material will be exported as an MP3 file and uploaded to
the MySpace or DJ Tunes communities.
Keyboard shortcut: Alt + C
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Video export dialog
You can export your arranagement into various video formats. The
options on offer can vary according to the selected format.
Presets: Under "Presets", you'll find the typical settings for the
selected format for the most important applications.
You can save your personal settings by pressing the
"Save" button and remove them by pressing the
"Delete" button.
Export settings: You can set up the general export parameters like
resolution, page proportions and frame rate in the dialogs. Select the
most-used values from the list field, to set your own values click on
the "..." button. The "Advanced" button opens the specific settings
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dialog for selected video format (see below).
In File you can enter the file name for you exported file.
Use the folder symbol to select the folder into which you want
to export it. The dialog will remember the export path for future
exports.
Use the "home" symbol to restore the original preset path.
With "Overwrite file automatically" you can perform multiple exports
from the same file.
Options
Shut down PC automatically after successful export: Use this option
to have the computer switch off automatically after lengthy export
processes.
Only export the area between the start and end markers: Set the
option if you wish to export only one of the clippings from the
arrangement.
Play after export:Here you can state whether you want to send he
exported arrangement to mobile devices via Bluetooth, infrared or
email. Read more in the Reprocess arrangement (see page
255)chapter.
Video as AVI
When exporting to AVI video, you can set and configure the size and
frame rate of the AVI video and the compression codec for audio
(audio compression) and video (codec).
Please also note the general info on AVI videos (see page 233, see
page 275)!
Keyboard shortcut: Alt + A
General info on AVI videos
The AVI format (Audio Video Interleaved) isn't actually a proper video
format! It's rather a so-called container where very general
conventions can be specified like audio and video data and sent to a
program. The exact memory format of the files is specified via the
codec (coder/decoder). A codec compresses audio/video files into
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its own private format with which only the codec can work and
decodes the files on playback again.
This means that an AVI file created on your computer can only be
loaded/played on computer B if this computer has the same codec
installed.
Many codecs (for example, Intel Indeo® video) have now become
standard components of the Windows installation, others, such as
the popular DivX codec are not. If you create an AVI file with such a
codec and you wish to use it other computers, install the
corresponding codec on them as well.
On older video editing cards certain codecs that function only with
the hardware of the corresponding cards can be problematic. This
type of AVI can only be used on the computer on which they were
created. Avoid using this type of codec when possible.
MAGIX video export
Exports the movie in MAGIX video format. This format is used for
video recording by MAGIX video software and is optimized for
digitally edited high-quality video material.
Keyboard shortcut: Alt + D
Video as Quicktime Movie
Exports the movie in Quicktime Movie format. This format enables
streaming playback of audio or video files via the Internet.
Like with Real Media exports, the corresponding video size, frame
rate, and codec settings can be adjusted for Quicktime Export as
well. In the export dialog, however, you cannot add comments, etc.
to videos.
The Quicktime Library has to be installed for Quicktime files (*.mov)
Key: Alt+Q
Video as Windows Media
Exports the arrangement in Windows Media format. This is a
universal audio/video format from Microsoft. Accordingly complex are
the settings options in the"Advanced..." dialog.
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Manual configuration
Audio/Video codec: Various codecs corresponding to the various
Windows Media versions (7, 8, 9) are possible. Should compatibility
problems arise on playback, try an older codec with a lower version
number.
Bit rate mode: Constant and variable bit rates are possible, most
devices and streaming applications use constant bit rates. For VBR
two pass modes the movie is compressed in two passes in order to
optimally use the bandwidth for highly-compressed movies for the
Internet.
Bit rate/Quality/Audio format: The bit rate is decisive in defining the
display/audio quality. The higher this is, the better your videos will
look and the larger the files and the required encoding time will be.
For variable bit rates, the bit rate is adapted dynamically to the
requirements of the corresponding picture or sound material. Here,
either the quality value of between 1-100 can be set or, for two-pass
encoding, an average or maximum bit rate. For audio, the bit rate is
set additionally by the audio format.
Import from the system profile (export type): For the most used
methods (other than playback on mobile devices, with which you
should use the supplied presets), like, for example, Internet
streaming, Microsoft provides diverse system profiles to choose from.
If you have the Windows Media Encoder 9 installed, which is available
from Microsoft as a free download, you can edit the profiles or create
your own. These can be loaded by pressing the "Import from profile
file" button.
In Clip info you can add the title, author name, copyright information
and a description.
Shortcut key: Alt + W
Single picture as BMP
Exports the picture located at the current start marker and displayed
in the video monitor as a bitmap (.BMP) file.
Keyboard shortcut: Alt + B
Single picture as JPG
Exports the picture located at the current start marker and displayed
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in the video monitor as a JEPG (.JPG) file.
Shortcut key: Alt + J
Upload to YouTube
Upload the current arrangement to YouTube. See Export to YouTube
(see page 264) for details.
Keyboard shortcut: Alt + U
Internet > Send arrangement as email
This option generates a compressed file in the Windows media
format. At the same time, the respective mail program is activated
and the previously generated file is added as an attachment to an
open message. Any type of arrangement can thus be compressed
and sent without any intermediate steps.
Shortcut: Shift + U
Import
Import Audio CD track(s)
You can simply import one or more CD tracks like a regular file from
the Media Pool via drag & drop. If this simple method should fail, you
can use the menu command to open the CD Manager where you can
select tracks from Audio CDs and load them into the arrangement.
More on this can be found in the section "Importing Audio CDs (see
page 74)" in the "Audio objects" chapter.
Keyboard shortcut: C
Audio recording
See Audio recording (see page 71).
Keyboard shortcut: R
Video recording
See Video recording (see page 229).
Keyboard shortcut: G
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Backup
Load backup arrangement
Using this command you can load a backup arrangement. Backup
arrangements are created automatically by MAGIX Music Maker 16
Premium and can be used when, for instance, a program crashes in
order to recover the last status of files. This type of automatic backup
gets the file extension MM_ (underscore). This command is also
useful if you unintentionally saved your change and wish to return to
the previous version.
Keyboard shortcut: Alt + O
Backup > Create backup
With this menu point, you can put a complete MAGIX Music Maker
16 Premium arrangement, including all used multimedia files into one
folder. This is especially useful when you wish to reuse or archive
such an arrangement later on, or when the files are located on
multiple CDs so that on loading you continually have to change CDs.
Furthermore, the effect files used are saved in a folder with the other
files.
A dialog opens where you can specify the path and name of the
arrangement.
Shortcut: Shift + R
Backup > Create backup in OGG format
You can create a backup copy as an OGG file, whereby all audio files
used will be compressed into OGG format. This way you can
compactly archive your song or put it on the web as a remix kit.
Shortcut: Ctrl + Alt + R
Backup copy > Burn backup copy to disc
Use this option to burn the arrangement as well as all the relevant
files to CD or DVD.
Even larger arrangements can be burned straight to disc. The
arrangement, if necessary, will then be split up and burned
automatically to multiple discs. A restore program which is burned to
the first disc of this type of backup, guarantees easy re-recording of
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the backup.
Shortcut: Ctrl+Shift+R
Backup copy > Burn manually selected files to CD/DVD
Opens the MAGIX Goya burnR burning application for burning movies
or other files onto CD/DVD. The files are selected by simply dragging
& dropping them into the MAGIX Goya burnR explorer. Further
information can be found in the MAGIX Goya burnR help file.
Keyboard shortcut: Alt + Shift + R
Settings
Arrangement properties
In this dialog, the general properties of the arrangement can be set.
Statistical information about the arrangement is also displayed.
Properties
Name: Here you can enter the name of the current arrangement.
General project settings
Path: This is where you can set the folder on your hard drive to which
your arrangement is saved.
Number of tracks: Here you can set the number of tracks you wish
to use.
Video resolution: Here you can specify the presets for the video
resolution used and the video format.
Use as presets for new projects: The settings specified in the dialog
are used as the standard settings for newly created projects.
Information
Name/Path: See above
Created on: Displays the time the arrangement was created.
Last changes: Displays the time when last saved.
Number of used objects: Displays the number of all objects in the
arrangement.
Used files: Here the names and paths to all multimedia files used in
the arrangement are shown.
Properties
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Name: Here you can enter the name of the current arrangement.
Universal arrangement settings
Path: This is where you determine the folder on your hard drive in
which your arrangement is saved.
Number of tracks: Here you can set the number of tracks you wish to
use.
Audio sample rate: The sample rate determines the pitch and the
speed at which audio objects are played back. The sample rate you
can use depends on your sound card (some sound cards even permit
changing the sample rate during playback). The sample rate you can
use depends on your sound card (some sound cards even permit
changing the sample rate during playback). If you halve the sample
rate, wave audio objects are played one octave lower.
Type of beat: Several types of bars are available to choose from, for
example ¾ beat. With various grid settings you can also set
additional beat types. For example, with a set 3/4 beat and a 1/8
note grid a 6/8 beat would be the result.
Video resolution: Here you can specify the presets for the video
resolution used and the video format.
Use as presets for new projects: The settings specified in the dialog
are used as the standard settings for newly created projects.
Synchronization settings/ReWire
Options for Synchronization (see page 252) and ReWire (see page
254) support.
Information
Name/Path: See above
Created on: Displays the time the arrangement was created.
Last changes: Displays the time when last saved.
Number of used objects: Displays the number of all objects in the
arrangement.
Used files: Here the names and paths to all multimedia files used in
the arrangement are shown.
Properties > Program settings
General
Autoscroll: If autoscroll is activated, the screen view automatically
shifts when the playback marker reaches the right edge of the
screen, which is particularly useful for longer arrangements. Scrolling
requires constant recalculation of the screen view, which may lead to
interrupted playback if the amount of system RAM is too low. If this
happens, simply deactivate the autoscroll feature.
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Simplified object display: This lets you switch between various
object views. Here video objects are displayed in the tracks either
with detailed preview frames or in simplified form. Audio objects are
displayed either with one or two separate wave form displays for
stereo.
Automatic saving of backup arrangements: Here you can the time
intervals at which automatic backup arrangements will be saved.
Soundpool
Hide unavailable loops: All Soundpools are saved into a database
automatically. The Media Pool lists all loops saved in the database,
i.e. also those which originate from external media (Soundpool discs)
that may not be in the drive at the moment. These results can be
hidden, but this slows down the search results in the Media Pool.
Multi-view: You can use this menu to subdivide the match list of the
Soundpool display and use up to four different Soundpool folders at
the same time. A separate search query can be set for each list.
Hide instruments not available in style: Instrument groups for which
there are no loops present in a certain style are completely hidden in
the Media Pool (instead of being grayed out).
Clean up Soundpool: Every detected Soundpool (on CD/DVD or on
the hard drive) is added to the database and displayed there, even if
the corresponding medium is currently not in the drive or if the
Soundpool has been deleted or moved. This option helps to remove
these entries in the database.
Reset Soundpool: Deletes the Soundpool database. You have the
option of maintaining the included and installed factory-provided
Soundpool in the database.
Hide advanced tooltips: The additional information for the detected
loops in the Media Pool will be hidden.
Hint dialogs: In its newly installed state, MAGIX Music Maker 16
Premium displays a number of security queries at various parts of the
program. Every one of them can be switched off by clicking the small
box at the bottom that says "Don't show this message again". To
display these warning messages, select the "Reactivate dialogs"
option.
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Program interface
Darken screen when dialogs are opened: Darkening signals modal
dialogs which need to be closed before the rest of the program can
be operated. This can be deactivated if it disturbs you.
Hide news: This option deactivates the MAGIX News Center in the
main interface of MAGIX Music Maker 16 Premium.
Import
Preview samples (Wav, OGG): Preview Wave files while playing the
arrangement: Here you can switch off the preview when a playback is
running (Smart preview).
Adapt waves automatically to the BPM: When loading to the
arrangement or previewing, MAGIX Music Maker 16 Premium tries to
adapt the samples to the speed of the arrangement. This always
works properly with newer MAGIX soundpool samples as the tempo
information is saved in the wave file. It usually works with all other
loops as well, provided the loops are clean, that is, they are cut to
entire bar lengths (see the Arranger chapter).
With "For patched samples only", automatic timestretching can be
deactivated for all other samples. With "Apply to longer samples as
well", longer samples will also be adapted if they contain tempo and
bar information provided by the Remix Agent.
Remix Agent for the tempo and beat recognition of longer samples
(>15 s): Here you can deactivate the automatic opening of the Remix
Agent for longer samples (for example, CD tracks or MP3s).
Automatically adjust waves to pitch: A wave's pitch can be adjusted
automatically using pitchshifting. For this to work however, the used
samples (much like the samples on the MAGIX soundpool CDs) must
have the corresponding key and pitch information. The pitch of the
arrangement will then correspond to the pitch information of the first
sample in the arrangement.
Use destructive adjustment for shorter samples: Usually, loaded
samples are adapted to the arrangement in realtime with
timestretching. For computers with lower processing power, this
method can be deactivated – the timestretching effect will then be
calculated into a new file which is copied to the hard disk.
Import CD tracks analog instead of digitally: If this option is
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activated, you can record audio CDs via the record button in the
transport control. Read more on this in the "Recording audio CDs"
section in the "Audio objects" chapter. (see page 78)
Automatically open MIDI editor during import of MIDI files: The MIDI
Editor will automatically open after the loading of MIDI files, allowing
you to make changes to channel and instrument assignment and
other settings.
Start file preview in Media Pool for...: Here you can deselect
automatic file preview start for Media Pool files and certain file types.
Import formats: You can deselect file formats that you never use, and
these will no longer be imported. Please keep in mind that for some
file types (AVI, WMA) several import modules exist, and MAGIX Music
Maker 16 Premium uses the fastest one in each case. If you
experience problems during the import of certain files, you can
experiment with deactivation of certain import modules, forcing the
program to use the slower, but more compatible import module.
Audio
Wave output device: This option specifies which sound card or
output the wave audio objects play and which drivers should be
used.
Advanced: Use these buttons to access the playback options
window which provides information on the current sound card. ASIO
provides the settings dialog for the ASIO driver, e.g. the MAGIX Low
Latency ASIO (see page 286) driver.
Wave/Direct Sound/ASIO: Specifies which of the conventional
Windows wave drivers should be used for the sound card, i.e. the
DirectSound system or ASIO.
Windows wave drivers have the advantage of being relatively stable
against strained peaks caused by large buffers. If playback becomes
jerky as a result of processor-heavy effects like time-stretching,
switching to wave drivers may solve the problem. Otherwise the
system may react more slowly with wave drivers because of the large
buffers, that is, all changes are heard with a delay.
16/24-bit wave/driver communication: If your sound card is able to
play 24-bit audio, your arrangement will be played at this higher
resolution (internal 32-bit float calculation). This is applicable only to
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wave drivers.
When using live monitoring and when playing and recording VST
instruments in real time, i.e. with as low a reaction time (latency) as
possible, it's recommended that you use ASIO drivers. If your sound
cards do not have ASIO drivers, you can use the MAGIX Low Latency
driver.
If you select ASIO as the driver model, you can set the output in the
upper list field (for cards with multiple outputs) and the ASIO driver in
the lower list field. Advanced opens the settings dialog of the ASIO
driver. Please refer to the sound card manual for more information.
Audio buffer:Here you can specify the buffer size that should be used
for playback of the entire arrangement or for previewing audio files in
the Media Pool.
As a rule of thumb: If response and loading times are too slow,
reduce the buffer size; otherwise increase the buffer size if the audio
playback is choppy or if real-time effect computation errors occur.
As error-free playback is usually more important than fast reaction
times, the buffer size should be raised to 16384 or 32768 if dropouts
occur.
MIDI
Output device: Without using software instruments and to preview a
MIDI file in the Media Pool MAGIX Music Maker 16 Premium uses the
external MIDI device. Here "Microsoft CD Wavetable SW synth", a
standard software synthesizer included in Windows® as an OS
component, should be set as default. If sound cards with their own
synthesizer are used or in case MIDI hardware synthesizers are
connected, the MIDI driver of the sound card or a MIDI interface
should be set!
FX: If MIDI playback is too fast or lagging behind, you can enter a
speed correction factor here.
Input device: Lets you select the MIDI drivers for MIDI recording, i.e.
the drivers for the MIDI device which you have connected your MIDI
or USB keyboard.
Use MIDI target channel: The MIDI system offers 16 different
channels to control 16 different sounds. Normally, MAGIX Music
Maker 16 Premium receives MIDI notes on all channels
simultaneously. With this option, you can select a specific channel.
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Next you have to set the desired sound together with the MIDI
channel on the device and select the MIDI recording options on this
channel.
Synthesizer latency: Some synthesizers, especially software
synthesizers like VST instruments, create delay during playing, i.e.
playback of the sound is delayed when the button is pressed. This
value lets you even this out, causing all notes to be moved over by a
certain temporal value.
Integrate MIDI keyboard with Live Performer: The MIDI keyboard
can be used to remotely control the Live Performer (only in Premium
version); see Live Performer MIDI assignment (see page 163).
Options
Create "Undo" before destructive editing of audio data: To undo
destructive effects, the original files must be saved to the hard disk. If
you use this type of effect quite often, you can switch off the undo
function and save on time used to create an undo file as well as save
space in memory.
Write real-time audio to wave file: If this option is activated, the
entire arrangement can be mixed live and recorded simultaneously.
During playback you can, for example, control mixer fades and
effects or, with the help of keyboard shortcuts, you can play the
beats in the arrangement – all activities will be recorded and written
to a separate wave file. – All real-time activities are recorded and
saved in a separate WAV file. Every time playback stops you will be
asked if the portion you just played should be saved as a wave file,
loaded into the arrangement, or deleted.
MAGIX Low Latency ASIO driver settings
These settings usually do not need to be changed; they are already
optimized for maximum compatibility. However, if you wish to
increase performance and reduce latency, then you can change
individual settings.
Audio device: If you have more than one audio device (e.g. on-board
sound and additional sound cards), you have to specify the device
that you wish to use for the MAGIX Low Latency driver here.
Buffer size: Sets sample buffer size. The smaller the buffer, the lower
the latency and the larger the CPU load. Modern computers can
manage latencies of up to 256 samples.
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Always convert 44.1 KHz: Some on-board sound chips (AC97) and
sound cards (e.g. manufactured by Creative) support 48 KHz as the
only hardware-side sampling frequency. If these are accessed via
normal audio with a sample rate of 44.1 KHz, they either function not
at all or the sound card's driver changes the sample rate, usually into
quite poor quality. You will be able to recognize this by the sound
during playback of soundpool files being much more thuddy than
when playing DVDs whose audio is set to 48 KHz. The MAGIX Low
Latency driver provides a significantly better resampling function and
is for this reason activated by default, that is, the output signal is
boosted to 48 KHz. If you are certain that your sound card can play
44.1KHz sample rates properly, you can deactivate this option, and
thereby reduce the processing load.
Video
Video standard: PAL is used in Europe, the US and Japan use
NTSC. This setting should not be changed.
Video display: The resolutions that can be set here concern only the
picture display of DV videos in the Arranger. If playback becomes
jerky, we recommend entering a lower value. The quality of exported
videos is not influenced by this.
Extract sound from videos during import: If a video contains audio
data as well, you can use this function to extract the audio track from
the video. It will be loaded directly underneath the video track and
grouped together with it. If you ungroup them (in Edit menu), you can
edit the sound as an independent object.
Automatically adjust videos to BPM during import: With the
available BPM information you can automatically create a video in
which the rhythm and order of pictures are synchronized. This does
not play all frames of a video, but some are excluded according to
the BPM setting on frame playback. The video appears faster at a
higher BPM setting; it "dances" to the rhythm. The tempo can be set
before every new arrangement in the transport control. Otherwise,
the arrangement applies the BPM tempo of the first sample that is
loaded.
Adjust minor deviations from 04:03 aspect ratio during export: This
option automatically customizes photos that have an approximate
04:03 aspect ratio to 04:03 TV screen format. The pictures are
therefore easily stretched or compressed. This inevitably brings about
distortions in the picture. If this option is deactivated, black bars
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appear along the sides.
Automatically preview exported clips: This option starts the clip
immediately after exporting for verification.
Automatically copy exported material to clipboard: This option is
particularly useful when used with other programs, such as Microsoft
PowerPoint. If switched on, the created multimedia file will be
available straight after being inserted.
Video priority: Usually, audio objects have priority over playback.
Here, an overloading of the computer as a result of too many effects
can bring about jerky video playback while the audio continues to
play without any problems.
To change this, you can give the video playback precedence over the
audio. Video playback is then renewed after every audio buffer, which
may lead to interruptions in the sound.
Folders
Here you can set the path, in which
• arrangements will be saved (Arrangements)
• the files to be exported (Export) or imported (Import) as well as the
recordings (Record) will be placed.
• –temporary files are to be stored (necessary for the running of the
program) (Temporary)
• The EXE file for the external audio editor, which can be opened via
the context or effect menu ("Edit Wave externally" only Premium
version). MAGIX Music Editor is set by default.
Reset program settings to default...
Use this function to reset all program settings (see page 280, see
page 281) you made in MAGIX Music Maker 16 Premium to their
original settings.
Exit
Exits MAGIX Music Maker 16 Premium.
Keyboard shortcut: Alt+F4
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Edit menu
Undo
10 commands can be undone, including object and cursor
manipulations. If you don’t like the result of a change in your
arrangement, the Undo function will take you back to the
previous arrangement.
Shortcut: Ctrl + Z
Redo
Redo lets you reverse the last Undo command.
Shortcut: Ctrl + Y
Object
Create a new object
Record a new object
A new audio object is recorded; see Audio recording.
Create a new MIDI object
This function creates a new MIDI object in the current track. After
invoking the function, a pop-up menu opens in which you can choose
between an empty MIDI object or several standard templates.
Keyboard shortcut: Ctrl + Alt + M
Create speech from text
Please refer to the Audio objects (see page 90) chapter.
Keyboard shortcut: Ctrl + Shift + X
Record a new object
A new video object is recorded; see Video recording (see page 229)
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Create a new title object
Creates a new title object and opens the title editor (see page 227).
Cut
The marked objects are cut out of the current arrangement
and placed onto the clipboard. They can then be inserted at
different positions.
Shortcut: Ctrl + X
Copy Objects
This menu option lets you copy all selected objects. The copy
appears next to the original and can be moved easily by
holding the left mouse button (drag & drop).
Shortcut: Ctrl + C
Duplicate objects
This menu option lets you copy all selected objects. The copy
appears next to the original and can be moved easily by holding the
left mouse button (drag & drop).
Shortcut: Ctrl + D
Paste
The contents of the Clipboard is added at the position of the
start marker in the current arrangement.
The playback marker is positioned at the end of the most recently
inserted object so that the quick and easy multiple use of the
command is also possible. Existing objects now become overwritten.
Shortcut: Ctrl + V
Multiple insertions
Like Insert, but you can stipulate how often the content of the
clipboard is to be inserted.
Shortcut: Ctrl + Num "+"
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Delete objects
This menu option lets you delete all selected objects from the
arrangement. To highlight or select more than one object, use the
“Shift” key while you click with the mouse.
Shortcut: Del
Select all objects
All objects in the arrangement will be selected.
Shortcut: Ctrl + A
Split objects
You can cut up a selected object at the S marker position. If you
have not selected an object, all objects will be cut into pieces at the
S marker position.
Later on, if you want to re-join the pieces of an object, select “Build
group” to join all selected objects to a group.
Shortcut: T
Save objects as takes
The selected objects are saved in the takes directory. To use takes,
please read the chapter "Saving objects separately (see page 68)" in
the PDF manual.
Keyboard shortcut: Ctrl + F
Grouping
Form group
Orders all selected objects into groups. As soon as an object from
the group is selected, all other objects in the group will be
highlighted as well so that you can work on them collectively.
Keyboard shortcut: Ctrl + L
Ungroup objects
This turns all selected objects into free-standing objects again.
Keyboard shortcut: Ctrl + M
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Loop range
Setting user-defined loops
Normally an object is always looped over the full length of the
underlying data material (audio or video file). To set a clip from a file
as a loop, shorten the object at the front and the back with the
handles and choose the command “Edit menu > Insert user-defined
loop”. This function is very useful for setting your own recording as a
loop, as the silence at the beginning of a recording can be cut away.
Shortcut: Z
Remove user-defined loops
The user-defined loop length is reset.
Shortcut: Shift + Z
Properties
This function displays all the information about the currently selected
objects such as file name, position on the hard-drive, tempo, etc. The
Object Editor also defines the foreground and background color of
every object in the arrangement.
More information is available under Object properties (see page 68).
Range
MAGIX Music Maker 16 Premium provides object-based functions as
well as "band-oriented" editing functions. These always refer to the
whole project from the first to the last track as well as to the area
between the start and end marker.
Cut out
The section between the in and out points is cut from the current
arrangement and placed on the clipboard. This section can then be
reinserted elsewhere.
Keyboard shortcut: Ctrl + Alt + X
Copy
The section between the in and out points is copied from the current
arrangement to the clipboard. This section can then be reinserted
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elsewhere.
Keyboard shortcut: Ctrl + Alt + C
Delete
The section between the in and out points is deleted from the current
arrangement and not copied to the clipboard.
Keyboard shortcut: Ctrl + Del
Insert
The contents of the clipboard are inserted at the current
arrangement's position of the in point.
Keyboard shortcut: Ctrl + Alt + V
Multiple insert
Similar in function to "Insert", but you can stipulate how often the
content of the clipboard is to be inserted.
Keyboard shortcut: Ctrl+Alt+Num "+"
Extract
The section between the in and out points is preserved, and all of the
material in front and behind it are deleted. Use this option to isolate a
specific part of an arrangement for further individual editing.
Keyboard shortcut: Ctrl + Alt + P
Track
Add track
A new empty track will be added to the arranger. In the "File >
Arrangement properties" the count of tracks can be set in large
increments.
Shortcut key: Ctrl +K
Audio mixdown
This option joins all audio objects in one audio file ("mixdown").
Afterwards, the audio material will only occupy one track and take up
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hardly any RAM (does however take up space on the hard drive [ca.
10 MB/min in stereo]). This way you get a clear overview of further
objects as well as space for them.
MAGIX Music Maker 16 Premium automatically normalizes the audio
file, i.e. the loudest part of the wave audio object is identical with the
highest figure of the 16-bit resolution peak. This guarantees the same
sound quality, even if you repeat the mix down procedure or you
combine the mix down file with other wave audio objects again and
again. The mix down function is very helpful if you want to go on
using the mix down object.
Tip: To create the final AVI or WAV (or any other multimedia) file, we
recommend using the various option of the submenu "Export movie"
option in "File", instead of the mixdown function.
Shortcut: Shift+M
Navigation
Set jump marker
This sets a jump marker at the position of the current playback
marker. Here you can note specific parts of the arrangement. With
the "Move playback position" function you can quickly jump to these
positions.
Shortcut: Shift + 1...0
Create jump marker sequence
This option duplicates the currently selected playback area between
the start and end markers by setting start markers equivalent to one
another in the bar ruler. Now you can jump to every jump marker
using keyboard shortcuts.
Shortcut: Ctrl+Shift+M
Delete all jump markers
Deletes all jump markers
Shortcut: Alt+Shift+M
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Move playback position
This sets the playback marker to the position of a jump marker. This
function can best be used via the keyboard.
When stopped, you can immediately move the playback markers to
the position of the saved jump markers. During playback, the
playback marker along with the playback range will be moved. Here,
the old range is always played until the end so that you can remix
your arrangement live once the jump markers have been placed
where you want them without losing the beat.
Keyboard shortcuts: 1..0
Move screen view
Using these commands, a viewable portion together with the start
marker will be moved in the timeline. You can quickly skip between
different jump markers and object edges.
Keyboard shortcuts: See keyboard shortcut overview in
the Arranger View (see page 330) section.
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Effects (FX)
Song Maker
With the help of the Wizards, several audio objects (Loops) of the
standard-delivery samples can automatically be arranged as songs or
song parts, without having to pull each single one out of the File
Manager onto the given track.
1. Activate the Song Maker with the “Song Maker” button or via the
file menu.
2. Select a music style (e.g. Easy Listening).
3. Select the instruments that you want to use. The color Blue which
appears under the names in the instrument selection box means
that the particular instruments have been chosen. If, for example,
you only want a rhythm section with drums and bass, deactivate
the other instruments with a mouse-click.
4. Enter the desired length of the song or song part in seconds. You
will always achieve a suitable musical result.
5. Specify whether a Song Maker should create a completely new
arrangement, attach a new part to an exiting arrangement, or add
new elements to the existing blocks. At your discretion, the Song
Maker will automatically add new sound blocks to the tracks in the
Arranger – initially only “virtually”, i.e. it is only a suggestion.
6. Listen to the suggestion by pressing, “Play” under “Preview
(audio)”. If you do not like the result yet, you can create other
arrangements, song parts or enhancements by pressing the
appropriate interfaces in the “Arrangement Options” of the Song
Maker Dialogue.
7. If you agree with the Wizard’s suggestions, click on “OK”. Then
the blocks will be added to the exiting arrangement. A click on
“Terminate” ends the Song Maker and returns to the original
arrangement status.
Shortcut: W
Audio
Please read the chapter "Audio effects (see page 165)" for more
details on audio effects.
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Master audio effect rack
Opens or closes the master effects rack; you can also use the
"Master FX" button in the mixer window for this.
Keyboard shortcut: B
Mastering Suite
You can open the MAGIX Mastering Suite (see page 193) with this
option.
Shortcut: U
Create speech from text
Please refer to the Audio objects (see page 90) chapter.
Keyboard shortcut: Ctrl + Shift + X
Object effects rack
See Object and master effects rack (see page 168).
Audio effects
This submenu includes all audio object effects plus the vintage
effects and the effects from the MAGIX Mastering Suite (Premium
version only); the latter can be used individually.
Individual effects can be found in the chapter "Audio effects (see
page 165)".
Volume
An assortment of different menu commands which influence the
volume of your audio objects.
Mute/Unmute objects
Use this command to mute one or more selected objects. Selecting
this command again makes it audible once more.
Shortcut key: F6
Set volume
This function, located in both the effects menu and the context menu,
controls the sound volume for individual objects, just like the object
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handles in the arranger.
Automatic track damping
This command automatically dampens the volume of other audio
objects. This can be used to insert voice-overs into your arrangement
or add commentary to a film (with the original sound). You can also
specify whether you want to dampen the original sound of existing
videos or all soundtracks equally.
In the dialog you can activate and deactivate the value of the
dampening.
You can use this command while recording audio (Audio recording
(see page 73), advanced options)
Keyboard shortcut: Alt+L
Normalize
The "Normalize audio" function increases the level of the audio object
to the maximum possible without overmodulating the material. To do
this, the largest signal peak in the audio material and the level of the
object are detected so that this point corresponds exactly to 0dB (full
modulation).
Keyboard shortcut: Shift + N
Tempo and pitch
An assortment of different menu commands which influence the pitch
and tempo of your audio objects.
Timestretch and pitchshift
See Timestretch/pitchshift.
MIDI transposition
This command is only available for MIDI objects. This
increases/decreases the pitch of a MIDI object's notes to a specific
value (in semitones). Use this function, for example, to adjust the
sound of imported MIDI files to other audio objects. This is more
effective than repositioning audio objects (pitchshifting), since this
can diminish the sound; transposition does not diminish the quality of
MIDI objects because they are produced by the synthesizer.
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Keyboard shortcut: Alt + Shift + D
Harmony Agent
The Harmony Agent is designed to analyze harmonies.
Read more on this in the corresponding section of the "Audio Objects
(see page 89)" chapter.
Shortcut: Alt+Shift+F
One pitch higher/lower
You can quickly alter the octave of an included sample without having
to access the corresponding Soundpool folder in the Media Pool.
The "*" and "÷" keys on the numeric keypad (right on the keyboard)
place the sample one level higher or lower.
The "+" and "-" keys on the numeric keypad change the pitch via
pitchshifting; the respective effect in the audio effects rack is utilized
for this.
Set pitch
Use this command (only in the Soundpool sample's context menu) to
quickly change the pitch of the selected object (if present). This also
functions when working with multiple selection. Simply select all the
objects which are under one another and select a new pitch to create
variations in the arrangement.
Remix
These are the commands for MAGIX Music Maker 16 Premium's
remix functions.
Audio > Loop Finder
The Loop Finder was developed for the purpose of finding BPMs in
short rhythmic passages and placing BPMs into the arrangement.
Furthermore, the Loop Finder can help to fit short loops into an
existing arrangement or extract short rhythmic passages from drum
loops.
Note: For longer passages (for example, complete CD tracks), you
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can use TBPM Finder.
The waveform of the audio material is displayed in the upper part of
the dialog, preset at a zoom level of about 10 seconds.
The principle involves moving the green start marker to the start of
the beat and the red end marker to the start of the next beat. The
BPM display to the left then shows the tempo of the loop in beats per
minute (BPM). Here we presume that there are exactly the same
amount of beats in the selected passage as is displayed in the
"Beats" input field – 4 is the default. If there are two full bars between
the start and end markers, the number of beats has to be increased
to eight, otherwise the Loop Finder will only correlate half the speed.
The precise marking of the beat length is required for exactly defining
the loop length. This is also possible manually by moving the start
and end markers, and can be similarly precise when using the zoom
functions. But it's easier to do so using the following:
Tap tempo: activates the automatic procedure for setting the tempo.
First, audio playback begins at the start marker position. Then you
will be requested to tap in the beat with "Tap" or by pressing the "T"
key, that is, the "T" key should be pressed in time with the music.
Playback stops after the number of beats set above is reached. The
start marker is now positioned at the start of the tap process and at
the end marker at the end. And that was it! The beat has now been
set and the tempo can be read. Program automation makes sure that
the start and end positions are placed exactly at the next beat. Even
if the tap process didn't work out exactly, automation nearly always
finds the right beat meant when tapping.
Snap marker: You can use the red and green arrow buttons at the
top beside the wave display for moving the start and end markers
one beat forward or one beat back. This makes it very easy to select
"round loops", that is, whole bars, during running playback.
As long as a loop runs through without any problems, the correct
tempo will be able to be read to the left.
Here you should make sure that the number of beats per bar (default:
4) has to adapted to the actual loop length. So, if four bars are
selected as a loop, 16 has to be entered into this field.
Start and end markers: Both of these markers show the start and
end points of the loop. You can move them around with the mouse to
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fine-tune the range.
Cut: Once a correct loop has been found, it can be cut using the Cut
function in order to, for example, be able to use it again later.
Use new BPM: The arrangement applies the BPM value found.
Timestretching: Adapts the object to the tempo of the arrangement
(as a result of the determined tempo) via timestretching.
Resampling: Adapts the object to the tempo of the arrangement (as
a result of the determined tempo) via resampling.
Audio > Remix Maker
With the Remix Maker, automatic remixes can be created from Remix
Agent loop objects.
Please read more on this in the "Audio objects" chapter.
Audio > Remix Agent – Tempo and beat assignment
MAGIX Music Maker 16 Premium provides a Remix Agent for the
automatic determination of the speed in BPM (beats per minute) and
for the creation of loop objects.
Please read more on this in the "Audio objects" chapter.
Audio > Create remix objects
If, while running the Remix Agent, the tempo and beat information
were saved to the audio file, this command can be used to create
remix objects. If the Remix Agent has not yet been implemented, this
command starts it and opens the presets dialog for creating remix
objects.
Load/Save/Reset audio effects
You can save the current effect combination of an audio object
separately and apply it to other objects later. Or you can deactivate
all currently used effects entirely (Reset) if you want to undo the
changes.
Shortcuts: Load audio effects Ctrl + Alt + O
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Save audio effects Ctrl + Alt + S
Reset audio effects Ctrl + Alt + H
Audio > Extras > Stereo – 2 mono objects
With this option stereo recordings can be split into two mono objects
which are then connected to a group. You can use the "Ungroup"
button to edit the channels as independent objects.
Edit wave files externally
A selected audio object into the external program MAGIX Music
Editor where it can be edited with lots of special features. Once
editing has been completed, the edited material is used in MAGIX
Music Maker 16 Premium instead of the original object.
Keyboard shortcut: Ctrl + Shift + A
Video
Video effects
Opens the Video Controller for selected video and picture objects.
Please read the "Video Effects" chapter for more details.
Shortcut: Shift + G
Load video effects
This command lets you load a saved effects combination for the
currently selected object. If you have selected multiple objects, then
the effects combination for each object will be applied.
Shortcut: Alt + Shift + O
Save video effects
This command lets you save the current effects combination for each
object separately.
Shortcut: Alt + Shift + S
Reset video effects
This option allows you to deactivate all currently used effects entirely
if you want to undo the changes.
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Shortcut: Alt + Shift + C
Video > Edit bitmap externally
Graphic files (BMPs or JPEGs) from the arranger can be post edited
in an external graphics program. The selected image file is loaded
automatically and, once editing has been completed, is used in the
MAGIX Music Maker 16 Premium instead of the original material.
Title
Title Editor
Title Editor (More Informationen can be found in the section
"Title editor" on page 227)
Key Ctrl+t
Load Title Effects
You can store the current preset effects combination for each title
object separately and later apply them to other title objects if they
have worked satisfactorily.
Save Title Effects
You can store the current preset effects combination for each title
object separately and apply it later to other title objects.
Keyboard shortcut: Alt + T
Automation
Display object volume curve
The automation curve for object volume is shown and can be edited
in Automation mouse mode (see page 60).
More about automation in the chapter Automation curves (see page
235).
Shortcut: Ctrl + P
Display object panorama curve
The automation curve for object panorama is displayed and can be
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edited in Automation mouse mode (see page 60).
More about automation in the chapter Automation curves (see page
235).
Object automation / Track automation
The dialog Dynamic effects editor (see page 236) for object
automation or track parameters is shown. A parameter can be
selected and edit in Automation mouse mode (see page 60).
More about automation in the chapter Automation curves (see page
235).
Keyboard shortcut: Object automation Shift + H
Track automation Ctrl + J
Media Pool views / template folders
Opens the corresponding folder in the Media Pool for dragging an
effect onto an object.
It's even easier to access the corresponding Media Pool views and
folders via the corresponding keyboard shortcut.
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View menu
Easy mode
Switches the screen in MAGIX Music Maker 16 Premium to "Easy"
mode's simplified interface. More about this in the chapter "Arranger
-> Normal mode/Easy mode".
This documentation describes MAGIX Music Maker 16 Premium in
normal mode. If you can't find one of the functions while reading,
make sure that you don't have Easy mode turned on.
Arranger
Optimize arrangement view
The start marker is set at the beginning of the arrangement
and the end marker is set at the end of the last object in the
arrangement such that the arrangement may be played back
in full.
Zooms out of the arrangement so that the complete duration of the
arrangement is visible. The vertical zoom steps (track height) remain
preserved.
Keyboard shortcut: Shift + O
Change object presentation
This lets you switch between various object views. Here video objects
are displayed in the tracks either with detailed preview frames or in
simplified form. Audio objects are displayed either with one or two
separate wave form displays for stereo.
Highlight loop area
With this option, you can fade the loop area in and out, that is, the
strip above the first track which displays the area that will be played
as an endless loop.
Shortcut: Shift + X
Show object marker > Show beat marker/harmony marker
After using the Remix agent or the Harmony Agent, the analysed
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material receives beat and harmony information which is then shown
in the arranger via these commands.
Shortcut: Beat Marker Ctrl + Shift + F9
Harmony
Markers
Ctrl + Shift + F10
Beat Markers Ctrl + Shift + F11
Media Pool
Media Pool
This option can be used to conceal the Media Pool or make it visible
again.
Keyboard shortcut: F
Media Pool views / template folders
Opens the corresponding folder in the Media Pool for dragging an
effect onto an object.
It's even easier to access the corresponding Media Pool views and
folders via the corresponding keyboard shortcut.
Video monitor
Video Monitor
Opens and closes the video window.
Shortcut: V
Full-screen Video Monitor
This option shows the video preview monitor in full-screen mode. The
right mouse button opens the context menu, the Esc-key returns you
to normal viewing mode.
Shortcut: Alt + Enter
Arrangement overview
With this option you can display an overview of the entire
arrangement on the video screen. It is particularly suitable for long
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and complex arrangements so that you don't lose track.
You can view the whole arrangement and you are, despite this, able
to access the sought object in a split second – you can zoom in
directly on the video monitor or move around the clip displayed in the
Arranger.
The function can also be opened via "Overview"
on the video monitor.
Keyboard shortcut: Alt+Shift+U
Peak meter
The video monitor is transformed into an analyzer which
displays the sound as a graphic.
Infobox
"Infobox" mode shows help text in the preview monitor if
you hold the mouse pointer over a button on the screen.
Mix
Mixer
This option allows you to display or conceal the real-time
mixer. You will find further information, especially with regard
to the integration of effects plug-ins, in the chapter "Mixer".
Keyboard shortcut: M
Master audio effect rack
Opens or closes the master effects rack; you can also use the
"Master FX" button in the mixer window for this.
Keyboard shortcut: B
Mastering Suite
You can open the MAGIX Mastering Suite (see page 193) with this
option.
Shortcut: U
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Live Performer
Activates the Live Performer . Please refer to the "Arranging objects"
(see page 62) chapter, section "Live Performer" (see page 155)!
Keyboard shortcut: K
Standard layout
Determines whether the video monitor and Mediapool should be
integrated into the main window or shown on a separate window.
Keyboard shortcut: L
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Online menu
The Online menu provides access to MAGIX Online World and other
online functions in MAGIX Music Maker 16 Premium.
The submenus provide commands for uploading individual objects in
the arranger or files from the Media Pool as well as the entire
arrangement, audio or video. Vice versa, you can use the menu
commands to download media from MAGIX Online Album or Catooh
or to open the website with the corresponding service directly.
Catooh – the Online Content Library
Catooh provides you with high-quality photos, videos, and music for
every theme, expanded by intelligent iContent with professional
Soundpools, DVD menu templates, and brilliant MAGIX ShowMaker
styles to help you make your photo, video, and music projects reality.
All of this is available directly from your MAGIX software.
Just choose "Online" from the menu "Catooh" to set up an Internet
connection.
Browse through the thematically sorted categories or view the results
directly by entering a keyword. After downloading, you can drag the
objects from the Media Pool directly into your arrangement.
Tip: Read the introduction online
http://rdir.magix.net/?page=JRF6LASAR2Z3!
Import media backup
iContent (for example, 3D transitions) which you buy and download
from Catooh is stored directly in your central My files\MAGIX
Downloads\Backup directory. If you have downloaded these files
from other MAGIX programs, then you can use the command "Import
media backup" to make them accessible for use in MAGIX Music
Maker 16 Premium.
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MAGIX Online Album
In the MAGIX Online Album, you can post your favorite photos online
and then send the link to your friends. All photos are immediately
available from anywhere in the world on a professionally-designed
photo website, in well-organized photo galleries, as full-screen
slideshows, or in the form of a personal photo e-card.
• Personalized photo website in many designs.
• Unique Internet address (URL).
• Upload your pictures directly from a camera phone, send the link,
and share the picture with other camera phone users.
• Full-screen online slideshows with fade effects and music.
• Send custom designed e-cards with your own photos.
• Share your photos with friends, including Internet management and
password access to private albums.
Your photos online
MAGIX Online Album is available in three versions, of which the
smallest (the FREE album with 500MB webspace for your photos) is
entirely free.
The larger versions (CLASSIC or PREMIUM) are available for a
monthly charge, but also come with many handy features, such as a
faster website, 2,000 MB or 5,000 MB storage space, more website
designs or access by mobile phone/PDA.
More information about prices and included services is available at
www.magix-photos.com.
Just three easy steps: Within minutes your first pictures will appear
on the Internet:
1. Select photos
Choose your favorite photos directly from the program and optimize
them in just a few clicks. Put completed photo albums together and
integrate music of your choice.
Do it all offline on your PC - saves you money! Then select "Services"
from the program's menu bar "MAGIX Online Print Service -> Send
selected".
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2. Upload photos
In order to upload photos to your MAGIX Online Album simply log in
using your email address. Naturally, access is protected via your
personal password.
If you still don't have access, click on Register now! to activate your
own album in just a few minutes. Then off you go!
3. Done! Your own personal photo website is finished
and your best photo memories are on the net. As a photo gallery or
fully automatic slideshow (fullscreen).
Now, invite all your friends with just one click or show your photos on
the road using your WAP-compatible camera phone.
Using your MAGIX Online Media Manager, you can quickly manage
your photo website, upload photos and music, create new albums,
add designs and text, and much more. All online without even having
to download any extra software! Worldwide, easy, and quick in just a
few clicks. At http://www.magix-photos.com
The following options are also available:
Send e-cards and photo emails
Send your photos as unique e-cards with great designs, or as a
photo email to your friends and acquaintances.
Order photo prints and gifts
Order paper prints or great photo gifts from your MAGIX Online
Album and have them delivered directly to your home, or pick them
up from a photo lab in your area. Delivery time is usually just 2 - 3
days.
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magix.info
Share your knowledge & get answers This MAGIX service offers you
and the MAGIX Community at large a central platform for exchanging
knowledge, photos, videos, and music, for discussing and evaluating,
for communicating with one another, for presenting yourself, and
networking with other members.
You will find the sections "Questions & Answers", "Show & Discuss",
"Online Training", and "Chat" where you can play an active or passive
role in the MAGIX Community. For this there's not only the
www.magix.info http://www.magix.info/uk portal, but magix.info
directly in your product.
Ask questions online
If you have questions or problems with your MAGIX program or
you're looking for tips & tricks concerning multimedia, then you're at
the right place.
Display all questions & answers...
Use the questions which other community members have asked and
the collective knowledge of the answers to improve your own working
methods, to solve problems, and to get to know the details of MAGIX
Music Maker 16 Premium.
Launch the online training center
Learn not only theoretically, but also practically what the program is
capable of: "learning by doing", quickly and uncomplicated.
Let your friends view the contents of your MAGIX.info screen over
the Internet on their PCs.
Ideal for viewing photos and videos together or for receiving support
for questions arising during your creative workflow while using the
program (a licensed client will be installed for this purpose).
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MAGIX News Center
MAGIX can supply you with all of the latest information about
your software. In the MAGIX News Center, you will find all of
the links to current online tutorials as well as tips & tricks on
individual topics or software application examples.
You will also be informed of the availability of brand new updates and
patches for your program as well as special offers, contests, and
surveys.
The news is split into three color-coded sections:
• Green for practical tips & tricks for your software
• Yellow reports the availability of new patches and updates for your
product
• Red for special offers, contests, and surveys
• And if there are no new messages, then the button will be grey
All available information is shown as soon as you click on MAGIX
News Center. If you click on one of the news items you will be
forwarded to the corresponding website.
More online services
MAGIX Online Print Service
MAGIX Online Print Service lets you order paper prints and photo
gifts (t-shirts, mugs, etc.) directly from within MAGIX programs such
as MAGIX Music Maker 16 Premium or via www.magix.com. Upload
your photos with a click and have the developed photos delivered to
your home within days.
Order photo prints and gifts
Order real paper prints or great photo gifts straight from your MAGIX
Online Album and have them delivered directly to your home or pick
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them up (no shipping costs) from your nearest photo developer.
Delivery usually takes 2 - 3 days.
More about MAGIX Online Print Service
• Order your valuable digital photos in impressive quality on premium
photo paper from a digital photo printing specialist
• Brilliant prints on premium photo paper in all formats
• Impressive picture quality; true-to-color for up to 100 years
• Huge selection of great photo gifts (t-shirts, mugs, calendars, and
much more)
• Includes MAGIX Photo Manager for conveniently ordering your
photos
• Real prints and great photo gifts of your digital pictures – it's that
easy
1. Select photos
Take your time and select your favorite photos from the program and
optimize them for best results. Remove redeye, enhance colors and
contrast, and much more. All offline and on your PC!
Then simply select MAGIX Online Print Service from the "Online"
menu and "Send selected".
2. Select format and quantity
Now select the desired number and the image format (e.g. 10x15) or
photo gift (mug, t-shirt). Do you have a voucher? Then click on "Use
voucher" and enter your voucher code.
3. Specify zoom
One great option is the crop function for your prints. To use it click on
the button "Edit photo". Here you can set the format (small 2:3 or
digital 3:4) you would like for your photos.
You can see how your photo prints will look in the preview window.
Using the selection frame you can crop your photos individually.
4. Submit order
Once you have made all your settings click on the "Submit order"
button. Now all you have to do is enter your details and the type of
delivery. Your order will now be dispatched online.
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You will now receive an order confirmation by email including a link
where you can find up-to-date information about your order anytime.
Delivery straight to your doorstep
Have your prints and photo gifts conveniently delivered straight to
your doorstep or pick them up from a photo retailer close to you to
save postage. Orders usually take 2-3 days.
MAGIX Website Maker
Not only is Internet surfing easy! Thanks to MAGIX Website Maker
creating websites also becomes child's play!
This service offers:
• Your desired domain (www.desiredname.com) and a subdomain
(http://your-name.magix.net/website).
• 250 MB memory space with 5 email accounts, 1 GB each.
• Website Maker with website templates, intros. Also animations, text
effects, form and design objects, picture and graphic templates, and
buttons. And everything without any ad banners!
• Photo (*.jpeg), video (*.wmv) & music (*.mp3) options.
• Additional software: MAGIX web mail for managing your email inbox.
MAGIX Website Maker offers 3 months of free, non-binding service.
This way, you have enough time to find out everything about MAGIX
Website Maker and all existing possibilities for editing and managing
your homepage.
MAGIX Website Maker offers everything for the perfect Flash®
website:
• Design templates: Numerous high-quality website templates in the
latest professional Flash® design with pre-finished, customizable
subpages, start pages, profile pages, photo pages, video pages,
and much more.
• Text & text effects: Freely positionable text fields with fantastic fonts
and animated text effects can be added and individually formatted
with ease.
• Multimedia content: Select your favorite photos, spectacular
slideshows, videos and an online video player with your own
background music, or integrate it all as an online music player with
playlists.
• Decorative elements: Attractive design objects, plenty of vector
shapes, background images, buttons, and much more offer more
possibilities for designing unique websites than ever.
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• Animation objects: Large selection of dynamic, impressive
animation objects for breathtaking, moving websites.
• Links: Easily add links to your own or external websites.
• Top extras: Enhance your website with a visitor counter, guest
book, contact form, and many other useful extras.
Export function: Conveniently add individual components of your
website (e.g. video player, slideshow, online music player) or even
the entire website to external sites as an embedded website.
Proceed as follows:
After registering your desired domain, you can start creating your
website right away.
1. First, select a design for your website in MAGIX Website Maker
2. If you would like to place an intro (start animation) at the start of
your domain, select your intro as a next step.
3. Now you can replace the mock text with your own text as you see
fit. All free-standing elements on all webpages can also be moved
as you please. To do so, click to select the element and move it
using your mouse.
4. Once everything is just how you want it, you can put your page
online, so that your domain can be accessed.
MAGIX Blog Service
With MAGIX Blog Service, YOU make the news! Share your thoughts,
experiences, and news with a worldwide audience in no time using
your own interactive online multimedia journal. Invite family, friends,
and acquaintances to join in and enter their comments! A free MAGIX
Online Album belongs to the MAGIX Blog Service so that you always
have full control over your contributions.
You can also read the FAQ (frequently asked questions) on the
Internet. http://rdir.magix.net/?page=GRF14Q24VIRN
MAGIX Podcast Service
MAGIX Music Maker 16 Premium allows you to publish your own
music as a podcast for a worldwide audience. The finished
arrangement is then uploaded to your MAGIX Online Album and listed
in the other podcast folders at MAGIX Podcast Service.
Read more in the "Podcasting" section in the Reprocess arrangement
(see page 255) chapter.
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Manage login details
These are options for managing user names (email addresses) and
the associated passwords so that you are able to access your Online
Services without having to enter the details each time.
This information applies to all of my Online Services: If this option is
activated, then the account details you have entered will be applied
to all Online Services. Deactivate this option if you have different
details for individual services, then choose the corresponding service
via "Select service and enter the associated login details.
Tasks menu
In this menu you will find direct solution and short video explanations
on how to perform tasks in different topics. Not only will you find
step-by-step instructions for sound and pictures here, but you also
find quick access to many of functions. If you click on an entry with a
camera symbol, then you will open a short tutorial video which
displays a solution. Entries without camera symbols offer a solution to
the problem immediately.
Help menu
Show welcome dialog
With this command you can display the "Welcome" dialog again.
There, you have a quick access to important functions during
program start.
Shortcut: Shift + F1
Documentation
Content
Use the command "Content" in the "Help" menu to open the start
page of the help file. You can read through the help file step-by-step
and jump to specific sections via the tree structure on the right hand
side.
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Context help
By choosing the context help entry from the "Help" menu, or by
clicking on the button in the top toolbar, the mouse cursor will
turn into an arrow with a question mark.
Then, when you click on any button of the main screen, program help
describing the control element in question will open.
Shortcut key: Alt + F1
Display tool tips
Tooltips are small information windows that open up automatically if
the mouse pointer stops briefly on a button or some other area. They
provide information about the function of the button. These
information boxes can be switched on or off with this option.
Keyboard shortcut: Ctrl + Shift + F1
Start introductory video
The introductory video shows you how all the most important
features work. Specific topics are explained in detail in additional
tutorial videos.
Shortcut: Ctrl + F1
To play the introductory video you may have to insert the program
CD.
Show MAGIX Music Editor video
The MAGIX Music Editor tutorial video shows you just how clear and
easy it is to use this additional program.
Open the online training area
Opens the magix.info with online tutorial videos.
Help from other users
Ask the Knowledge Community a question online
Ask magix.info a question.
Find other MAGIX Music Maker 16 Premium users
Opens the browser with the myGOYA Online Desktop chat module
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and switches to the MAGIX Music Maker 16 Premium users' channel.
This helps to quickly find other MAGIX Music Maker 16 Premium
users to get in contact with.
MAGIX Screenshare
This function makes it possible for you to offer assistance to other
users directly via the Internet, or to get help from others. To do this
you have to register MAGIX Music Maker 16 Premium first.
Hint: To inform the screensharing guests of exactly what is being
shown, it is also a good idea to telephone or chat simultaneously.
Register as host for a screen transfer
1. If you want to start a screenshare instance yourself, then you have
to register as a host first. To do this open the menu "Online" and
then select "Screen transfer as host...".
2. In the dialog you can enter a name for the screen session. Your
user account name is used here by default.
3. Now click on "start session". A small window will now open in the
bottom right corner which displays the status of your screen
session. A number will also be displayed (session ID) which serves
as a password for your guests.
4. Start the screenshare instance.
Register as guest of a screen session
1. You have to register as a guest to view a screensharing instance.
To do this open the menu "Online" and then select "Screen
transfer as guest...".
2. Enter the password you received from your host (8-digit session
ID).
3. Now click on "start session". A window will open displaying a
smaller version of your host's screen.
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Update program / Upgrade functions
Register online
This option opens the MAGIX homepage for online registration where
you can register yourself as a MAGIX user.
Registration grants you access to the MAGIX support website (see
support) where various program updates and help programs can be
downloaded.
With the registration form supplied (start menu under "MAGIX Music
Maker 16 Premium -> Service and support -> Register") you can
register via post or fax. Simply print it out, fill it in, and send it off!
Online update
Connects directly to the MAGIX online update page where you can
get the latest version of your program.
Activate additional functions
In the submenu you have the option of activating encoders/decoders
for various file formats.
Why does it have to be "activated"?
To import (decode) or export (encode) certain video and audio
formats you will require a specific codec. MAGIX Music Maker 16
Premium will ask you if you want to activate the codec as soon as
you need it. The integration of decoders and encoders from third
parties into programs usually costs money. These codecs are
integrated via additional, voluntary activation in MAGIX programs
which, according to usage and degree of prevalence, can be free or
fee-based for special high-quality codecs. This way, MAGIX can
continue to be able to provide you with optimum value for money for
your software.
The following fee-based activations are available on MAGIX Music
Maker 16 Premium: MP3 Surround encoder.
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Fee-based MP3 activation
To create Surround MP3s the appropriate fee-based codec must be
activated first.
Order activation code online
Click on "Order online..." (Field 1). The web browser will open for you
to register MAGIX Music Maker 16 Premium first (if you have not
already done so). You will then be forwarded to a website where you
can request the corresponding activation.
If your computer has no Internet access, then you have the following
options for activation:
Order activation code in MAGIX Service Center
Use this option to conduct activation from a different computer which
has Internet access.
Order activation code via post/fax
After clicking on "Order via post/fax" (field 2) your user code will
appear. This automatically assigns your personal activation code to
your PC. Click on "Continue to order form" to transfer your user code
automatically to the post/fax form. Now send the completed form as
a printout to the address/fax no. mentioned. Once payment has
been processed successfully, your activation code will be sent to you
in the post/via fax in just a few days. Optionally it can also be sent by
email if an email address is stated.
Enter activation code
After receiving your personal activation code use the export or burn
function to reopen the activation dialog for the corresponding file
format. Type or copy the activation code into the input field in the
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dialog and click on "Activate...".
Possible problems and their solutions
The code entered is incorrect (telephone activation)
• Make sure your entry is correct; in most cases a typo is the culprit.
• If the code is entered correctly, then you can dial the number for our
call center. Our co-workers are glad to help you personally.
The MAGIX website won't open
• Check your Internet connection; you may have to use manual dial-
up.
The MAGIX website won't open
Check your Internet connection; you may have to use manual dial-up.
The form for ordering via post/fax won't open
• Check that an adequate text editing program is installed and
activated (for example, MS Word).
I still haven't received an email with the activation code
• Check that your inbox isn't full.
• Have a look in your spam folder.
You can always send questions via email to our support whenever
you like. Please have the following information at hand so that we can
assist you as quickly and as specifically as possible.
• Complete product name
• Exact version number (to be found in the about box in the "About"
menu item of the "Help" menu)
• Encoder/Decoder name
• Your user code (accessible via the "Activate via post/fax" dialog)
I installed my MAGIX program onto my new computer or built a new
hard disk (sound card, memory...) into my old computer. Now my
activation code is no longer accepted.
Activation is linked to a specific computer. Changes to the
computer's hardware, for example, integrating a larger hard disk can
lead to the computer no longer being recognized as the one for
which the activation code was created. This will most likely happen if
you install MAGIX Music Maker 16 Premium on a new computer. If
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this is the case, simply request a new activation code. Since you're
already registered as a MAGIX customer, you won't have to pay for
another activation.
Online: When registering on the MAGIX website use your existing
MAGIX login details.
Post/Fax: Print out the order form again and send it to the
addressee/fax number stated.
MAGIX Creation Logo
Use this option to open a PDF information file that will show you how
to use the MAGIX Creation Logo. This guide explains in detail what
must be taken into account and what is needed for non-private use
of the content provided (the photo, video, and audio files included in
the software).
We explain when and where the MAGIX Creation Logo must be
applied and which logo is suitable for your application. If you have
any questions, please contact MAGIX Support.
About MAGIX Music Maker 16 Premium
Displays copyright info and version number of MAGIX Music Maker
16 Premium.
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Buttons overview and keyboard
shortcuts
Toolbar
Save arrangement
Copy selected
objects
Export
Insert
Undoes the last action (Undo)
Song Maker
Redo action
Select mouse mode
(see page 59)
Cut
MAGIX.info
Keyboard shortcuts
In MAGIX Music Maker 16 Premium, there are many functions for
which key commands can be used to open your desired program at
the touch of a button. In detail:
• Menu and object context menu entries
• Functions of the Media Pools (Options menu)
• The video monitor menu
• Move and zoom of the arranger view
• Playback control (Moving the playback marker and the playback
area)
• Mouse modes
• Smart preview function (Previewing Media Pool files in the
arrangement context)
File menu
Load/Save arrangement
New arrangement Ctrl + N
Load arrangement Ctrl + O
Save arrangement Ctrl + S
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Save arrangement as Shift + S
Import
Import audio CD track(s) C
Audio recording R
Video recording Premium G
Export
Export assistant X
Burn audio to CD-R(W) Shift + Alt + A
Audio as WAV/ADPCM Alt + W
Audio as MP3 Alt + M
Audio as OGG Vorbis Alt + O
Audio as Windows Media Alt + E
Audio as AIFF Alt + F
Upload audio to MySpace/DJ
Tunes
Alt + C
Video as AVI Alt + A
Video as MAGIX video Alt + X
Video as QuickTime movie Alt + Q
Video as Windows Media video Alt + V
Picture as BMP Alt + B
Picture as JPEG Alt + J
Upload to YouTube Alt + U
Send arrangement as email Alt + I
Backup copy
Load backup arrangement Alt + Y
Create backup copy Shift + R
Create backup copy as an OGG Ctrl + Alt + R
Burn backup copy to disc Ctrl + Shift + R
Burn manually selected files to
CD/DVD
Shift+Alt+R
Settings
Program settings Y
Arrangement settings E
Quit Alt + F4
Edit menu
Undo Ctrl + Z
Restore Ctrl + Y
326 Buttons overview and keyboard shortcuts
www.magix.com
Object
New MIDI object Ctrl + Alt + M
Cut Ctrl + X
Copy Ctrl + C
Duplicate Ctrl + D
Insert Ctrl + V
Multiple insert Ctrl + "Num+"
Delete Del
Select all Ctrl + A
Split T
Save objects as takes Ctrl + F
Form group Ctrl + L
Ungroup Ctrl + M
Set user-defined loop Z
Remove user-defined loop Shift + Z
Object properties Ctrl + E
Range
Cut Ctrl + Alt + X
Copy Ctrl + Alt + C
Insert Ctrl + Alt + V
Multiple insert Ctrl + Alt + "Num+"
Delete Ctrl + Delete
Extract Ctrl + Alt + P
Track
Add new track Ctrl + K
Mix audio Shift + M
Navigation: Set jump marker, move playback position (see Playback
control), move view (see Move arranger view (see page 330)).
Effects menu
Song Maker W
Audio
Master audio effects rack B
Mastering Suite U
Text to speech Ctrl + Shift + X
Object effects rack Shift + A
Buttons overview and keyboard shortcuts 327
www.magix.com
10-band equalizer Shift + Q
Parametric equalizer Shift + U
Sketchable filter Alt + Shift + Z
Compressor Shift + D
Stereo processor Shift + P
Invert phase Alt + H
Echo/Reverb Shift + H
Distortion/Filter Shift + F
Elastic Audio S
Vocoder Shift + C
Gater Ctrl + G
reverse Ctrl + B
Mute/Unmute F2
Reduce volume Alt + L
Normalize Shift + N
Timestretch and pitchshift Shift + V
MIDI transposition Alt + Shift + D
Harmony Agent Alt + Shift + F
One pitch higher Num *
One pitch lower Num /
Create remix objects Shift + J
Remix Maker Shift + B
Loop Finder Shift + L
Remix Agent – Tempo and beat
recognition
Shift + K
Load audio effects Ctrl + Alt + O
Save audio effects Ctrl + Alt + S
Reset audio effects Ctrl + Alt + H
Convert stereo into two mono
objects
Alt + K
Edit wave in external editor Ctrl + Shift + A
Video
Video Controller Shift + G
Load video effects Alt + Shift + O
Save video effects Alt + Shift + S
Reset video effects Alt + Shift + H
Edit bitmap in external editor Ctrl + Shift + B
328 Buttons overview and keyboard shortcuts
www.magix.com
Title
Title editor Ctrl + T
Load title template Alt + Shift + T
Save title template Alt + T
Automation
Display object volume curve Ctrl + P
Object automation Ctrl + H
Track automation Ctrl + J
View menu
Arranger
Optimize view Shift + U
Change object presentation Tab
Show loop range Shift + X
Show object marker
Bar marker Ctrl + Shift + F9
Harmony marker Ctrl + Shift + F10
Beat marker Ctrl + Shift + F11
Media Pool
Media Pool F
Audio effects Ctrl + Alt + A
Vintage audio effects Ctrl + Alt + N
Video effects Ctrl + Alt + G
Video mix effects Ctrl + Alt + F
Visuals Ctrl + Alt + U
Title effects Ctrl + Alt + T
Video monitor
Show video monitor V
Fullscreen video monitor Alt + Enter
Arrangement overview Alt + Shift + U
Mix
Mixer M
Master audio effects rack B
Mastering Suite U
Live Performer K
Standard layout L
Buttons overview and keyboard shortcuts 329
www.magix.com
Help menu
Show welcome dialog Shift + F1
Table of contents F1
Context help mouse mode Alt + F1
Display tool tips Ctrl + Shift + F1
Start introductory video Ctrl + F1
Register online F12
Online update Ctrl + Shift + F12
About MAGIX Music Maker 16
Premium
Alt + Shift + F1
MIDI objects context menu
MIDI editor Ctrl + Shift + D
Track VSTi editor Ctrl + Shift + F
MIDI transposition Alt + Shift + D
Media Pool
Settings
Soundpool F5
File browser F6
Synthesizer F7
Templates F8
Object inspector F9
Template folders
Audio effects Ctrl + Alt + A
Vintage audio effects Ctrl + Alt + N
Title effects Ctrl + Alt + T
Video effects Ctrl + Alt + G
Video mix effects Ctrl + Alt + F
Visuals Ctrl + Alt + U
View options
List Ctrl + Alt + L
Details Ctrl + Alt + D
Large symbols Ctrl + Alt + I
File operations
copy object Ctrl + Shift + C
330 Buttons overview and keyboard shortcuts
www.magix.com
Insert Ctrl + Shift + V
Delete Del
Rename Ctrl + Shift + N
Properties Alt + Shift + E
New folder Ctrl + R
Folder as link Ctrl + Shift + L
Burn file to CD/DVD Ctrl + Shift + B
Video Monitor
Fullscreen video monitor Alt+Enter
Standard layout L
Video Monitor V
Video monitor resolutions
160x120 Ctrl+Shift+1
320x240 Ctrl+Shift+2
360x288 Ctrl+Shift+3
680x480 Ctrl+Shift+4
720x480 Ctrl+Shift+5
720x576 Ctrl+Shift+6
768x576 Ctrl+Shift+7
User-defined resolution Ctrl+Shift+8
Adjust video monitor to selected
video
Ctrl+Shift+O
Reset to default size Ctrl+Shift+2
Show time Ctrl+Shift+I
Time foreground color Ctrl+Shift+J
Time background color Ctrl+Shift+K
Time background transparent Ctrl+Shift+L
Move Arranger view
Note: These commands similarly move the playback marker when it's
stopped, the marker always remains visible in the arrangement clip.
To the next object edge Ctrl+0
To the previous object edge Ctrl+9
Go to beginning of arrangement Home
Go to end of arrangement End
Go to start marker Ctrl+Home
Go to end marker Ctrl+End
Page to right/left PgDn/PgUp
Grid to right/left Ctrl+PgUp/PgDn
Go to the next jump marker Ctrl+Shift+PgDn
Buttons overview and keyboard shortcuts 331
www.magix.com
Go to the previous jump marker Ctrl+Shift+PgUp
Go one track up/down Shift+Arrow up/down
Arranger view: Increase/Reduce clip size (zoom)
Increase clip size (zoom in) Ctrl+Arrow up
Reduce clip size (zoom out) Ctrl+Arrow down
Zoom 1 frame Ctrl+1
Zoom 5 frames Ctrl+2
Zoom 1 sec Ctrl+3
Zoom 10 sec Ctrl+4
Zoom 1 min Ctrl+5
Zoom 10 min Ctrl+6
Zoom view between start and
end marker
Ctrl+7
Zoom over whole arrangement Ctrl+8
Increase track pitch Alt+Arrow up
Reduce track pitch Alt+Arrow down
Move playback control / playback marker / playback area
Start/Stop playback Space bar
Stop at position (stop playback,
move playback marker to
current position)
Escape
Set jump marker Shift+1...0
Playback marker to jump marker 1..0
Note: When stopped, the playback marker is moved to the jump
marker (after the end of the current loop).
Create jump marker sequence
(10 markers with intervals equal
to the current playback area)
Ctrl+Shift+M
Delete all jump markers Alt+Shift+M
Move playback range Arrow left/right
Move playback one quarter of its
length
Ctrl+Arrow left/right
Double/Halve playback area
length
Shift+Arrow right/left
Double/Halve playback area
length by a bar
Ctrl+Shift+Arrow left/right
332 Buttons overview and keyboard shortcuts
www.magix.com
Mouse modes
Mouse modes for individual
objects
Alt + 1
Connect objects in one track Alt + 2
Connect objects in all tracks Alt + 3
Curve mouse mode Alt + 4
Draw objects Alt + 5
Splitting objects Alt + 6
Object stretch mouse mode Alt + 7
Preview objects mode Alt + 8
Scrub mode Alt + 9
Replace mouse mode Alt + 0
Preview/Smart preview
Preview of pitches Numbers 0..9
Change preview object Arrow keys
Insert into arrangement Enter
Delete smart preview object Del
Index 333
www.magix.com
Index
5
5.1 Surround ................................................................................245
5.1 Surround Editor ...................................................... 244, 247, 248
5.1 Surround-Sound.......................................................................26
6
64/96-track arranger.......................................................................21
A
About MAGIX Music Maker 16 Premium .......................................323
Activate additional functions............................................ 70, 272, 320
Add songs to your MySpace profile.......................................257, 265
Add track .....................................................................................293
Add videos and synthesizers...........................................................34
Additional audio effects...................................................................25
Additional features in the Premium version: .....................................21
Additional features of the Premium version......................................25
Additional Live Pads buttons.........................................................163
Additional styles..............................................................................25
Additional tracks.............................................................................25
Additional Vital Instruments.............................................................25
Adjusting the signal level...........................................................72, 74
Adjusting the video screen............................................................224
Adjusting volume/brightness ...........................................................67
Advanced configurations in the video capturing dialog ..................231
Advanced options...........................................................................74
Also in the Premium version............................................................26
Analog delay......................................................................... 203, 204
Analog delay parameter ................................................................205
Analog filter 12/24db ....................................................................131
Applications of the Elastic Audio easy editor..................................184
Apply (destructive editing) .......................................................81, 169
Arrange MIDI objects ......................................................................92
Arrangement overview ............................................................46, 306
Arrangement properties ................................................................280
Arranger ................................................................................. 38, 305
Arranger buttons.............................................................................47
Arranger view: Increase/Reduce clip size (zoom) ...........................331
334 Index
www.magix.com
Arranger, Video Monitor, and Media Pool........................................46
Arranging Objects..................................................... 59, 63, 225, 308
Arranging with Live Performer .......................................................164
Ask the Knowledge Community a question online ......................... 318
Atmos ..........................................................................................146
Audio ................................................................................... 284, 296
Audio > Create remix objects....................................................... 301
Audio > Extras > Stereo – 2 mono objects .................................... 302
Audio > Loop Finder......................................................... 79, 80, 299
Audio > Remix Agent – Tempo and beat assignment .................... 301
Audio > Remix Maker ................................................................... 301
Audio as AIFF ...............................................................................273
Audio as MP3...............................................................................272
Audio as Ogg Vorbis.....................................................................272
Audio as Wave ............................................................................. 271
Audio as Windows Media .............................................................273
Audio CD support...........................................................................23
Audio effects .................................... 22, 55, 118, 165, 242, 296, 297
Audio export dialog.......................................................................270
Audio formats................................................................................. 70
Audio mixdown............................................................... 81, 169, 293
Audio object effects................................................................ 55, 166
Audio objects .................................................................................55
Audio Objects.................................................................................70
Audio recording...................................................................... 71, 278
Automatic tempo adjustment when loading.....................................79
Automatic Tempo Recognition........................................................ 82
Automatic track damping.............................................................. 298
Automation......................60, 119, 124, 127, 128, 239, 249, 303, 304
Automation curves.......................................... 60, 168, 236, 303, 304
Axes labelling and legends............................................................179
B
Backup ........................................................................................279
Backup > Create backup.............................................................. 279
Backup > Create backup in OGG format.......................................279
Backup copy > Burn backup copy to disc ....................................279
Backup copy > Burn manually selected files to CD/DVD................280
Backwards ...................................................................................191
Bass amp..................................................................................... 220
BeatBox 2 ......................................................................................22
BeatBox 2 plus............................................................................. 119
Before you start..............................................................................13
BitMachine ........................................................................... 203, 213
Build or split object groups .............................................................64
Index 335
www.magix.com
Burn audio to Audio CD/DVD-(RW) ...............................................270
Buttons overview and keyboard shortcuts.....................................324
C
Cabinet simulation ........................................................................221
Carrier input..................................................................................189
Catooh – the Online Content Library ........................... 17, 48, 56, 309
CD Manager ...................................................................................75
CD/DVD .........................................................................................51
Cell mode.....................................................................................113
Change object presentation ..........................................................305
Change tempo or pitch of individual objects manually .....................80
Change the playback tempo or pitch ..............................................79
Check and correct the automatic harmony recognition....................89
Choppy or uneven playback .........................................................233
Chorus ......................................................................... 129, 203, 210
Chorus flanger parameters............................................................200
Chorus parameters.......................................................................211
Chorus/Flanger.............................................................................199
Compressor .................................................................................172
Connect external equipment ...........................................................94
Connecting the source for recording ...............................................71
Content ........................................................................................317
Context help........................................................................... 62, 318
Context menu...............................................................................121
Control Effect devices...................................................................165
Control groups .............................................................................241
Controller editor: Selecting and editing events................... 96, 99, 103
Controller Editor Hints...................................................................104
Convert MIDI objects into audio files ...............................................93
Copy ............................................................................................292
Copy Objects ...............................................................................290
Copyright .........................................................................................2
Create a new MIDI object..............................................................289
Create a new object......................................................................289
Create a new title object ...............................................................290
Create a video project for the Internet ...........................................234
Create audio CD.............................................................................37
Create Audio CD ..................................................................257, 267
Create jump marker sequence ......................................................294
Create speech from text ....................................................... 289, 297
Curve Generator - Options............................................................238
Cut...............................................................................................290
Cut out.........................................................................................292
336 Index
www.magix.com
D
Database........................................................................................ 51
Define ranges ............................................................................... 156
Delay (echo) .................................................................................177
Delete...........................................................................................293
Delete all jump markers ................................................................294
Delete objects ..............................................................................291
Deleting, copying, and moving files .................................................50
Deploying VST/DirectX Effects ......................................................154
Description of all control elements.................................................181
Determining the start of a measure .................................................84
Digital Audio Meter ....................................................................... 199
DirectX and VST plug-ins................................................................26
Display harmonies ..........................................................................45
Display object panorama curve .....................................................303
Display object volume curve..........................................................303
Display tool tips ............................................................................318
Distortion.............................................................. 130, 177, 203, 212
Documentation............................................................................. 317
Draw ...................................................................................... 60, 239
Drive list dialog ...............................................................................77
Drum & Bass machine 2.0 ............................................................132
Drum Editor............................................................................ 95, 112
Drum Editor trackbox....................................................................113
Drum kit .......................................................................................121
Drum Map Editor ..........................................................................115
Drum Maps .................................................................................. 114
Duplicate objects.................................................................... 65, 290
DVD ............................................................................................... 13
Dynamic effects............................................................................ 237
E
Easy mode ............................................................................. 24, 305
Edit menu............................................................................. 289, 325
Edit notes with the mouse ............................................................102
Edit wave files externally ............................................................... 302
Edit window..................................................................................179
Editing objects................................................................................35
Editing the effect curve in the arrangement ...................................239
Editing the effect curve in the dialog.............................................. 239
Editing velocities and automation values ....................... 123, 124, 125
Effects.................................................................................... 36, 165
Effects (FX) ................................................................................... 296
Index 337
www.magix.com
Effects curves...............................................................................168
Effects menu ................................................................................326
Effects section..............................................................................127
Elastic Audio easy.........................................................................178
Equalizer ......................................................................................170
Essential FX............................................................................20, 199
Event display filters .........................................................................99
Events above or below the currently visible selection.....................100
Exact object positioning..................................................................65
Exit...............................................................................................288
Export .......................................................................... 246, 257, 270
Export arrangement........................................................................36
Export as email attachment...........................................................258
Export as podcast ........................................................................261
Export as ringtone ................................................................ 258, 272
Export assistant............................................................................256
Export to YouTube........................................................ 257, 264, 278
Extract..........................................................................................293
Extract sound from videos ............................................................226
F
Fader............................................................................................240
Fee-based MP3 activation ............................................................321
File manager settings......................................................................49
File menu.............................................................................. 269, 324
Fill mode.........................................................................................88
Filter ..................................................................... 177, 189, 203, 208
Filter graphic.................................................................................189
Filter parameters...........................................................................208
Filter-Sweeps/Morphing................................................................171
Find other MAGIX Music Maker 16 Premium users........................318
Flanger ......................................................................... 129, 203, 206
Flanger parameters.......................................................................207
Folders .........................................................................................288
Form group ..................................................................................291
Formats and interfaces ...................................................................21
Full-screen Video Monitor .............................................................306
Fundamental frequency analysis correction ...................................186
Fundamentals...............................................................................173
Fundamentals of the Elastic Audio editor.......................................180
FX plug-ins ...........................................................................169, 199
FX tracks ...................................................................... 154, 237, 243
338 Index
www.magix.com
G
Gater............................................................................................ 190
General .................................................................................. 52, 281
General info on AVI videos ............................................................275
General information on the Elastic Audio editor .............................178
General notes on AVI videos ................................................. 233, 275
Grid.......................................................................................... 41, 65
Grouping ...................................................................................... 291
Guitar amp ................................................................................... 219
H
Harmony Agent .......................................................... 24, 45, 89, 299
Help from other users ................................................................... 318
Help menu............................................................................ 317, 329
High-end 32-bit floating point ......................................................... 23
Highlight loop area........................................................................ 305
I
Import .................................................................... 80, 246, 278, 283
Import and export of surround audio files.............................. 246, 249
Import audio CD ..................................................................... 74, 278
Import Audio CD track(s) ..............................................................278
Import media backup.................................................................... 309
Infobox................................................................................... 58, 307
InfoBox...........................................................................................24
Information ...................................................................................281
Insert............................................................................................ 293
Installation ......................................................................................14
Integrating other programs - Synchronizing and ReWire ................250
Interactive workshop ......................................................................21
Interface connection .......................................................................94
Internet > Send arrangement as email........................................... 278
Introduction.................................................................................... 19
Invert phase .................................................................................172
K
Keyboard commands and mouse-wheel assignments...................188
Keyboard shortcuts .............................................................. 123, 324
Index 339
www.magix.com
L
Limiter ..........................................................................................198
List Editor ................................................................. 95, 99, 100, 105
Live Mode ......................................................................................47
Live monitoring .......................................................................40, 243
Live Pads .............................................................................156, 160
Live Performer ................................................................ 47, 156, 308
Live Performer recording...............................................................159
Live Sessions..................................................................................24
LiViD - Little Virtual Drummer ........................................................135
Load and process audio files ..........................................................70
Load and save Live Performer ranges ...........................................159
Load arrangement ........................................................................269
Load backup arrangement............................................................279
Load Live Pads with takes ............................................................161
Load loops ...................................................................................160
Load Title Effects..........................................................................303
Load video effects ........................................................................302
Load/Save....................................................................................169
Load/Save/Reset audio effects .....................................................301
Loading and editing videos and bitmaps .......................................224
Lo-fi .............................................................................................130
Loop Finder....................................................................................88
Loop range...................................................................................292
M
MAGIX Blog Service................................................................16, 316
MAGIX Creation Logo ...................................................................323
MAGIX Low Latency ASIO driver settings .............................. 284, 286
MAGIX Mastering Suite................................. 168, 193, 244, 297, 307
MAGIX Mastering Suite 2.0 .............................................................26
MAGIX Music Editor..................................................................26, 91
MAGIX News Center.....................................................................313
MAGIX Online Album .............................................. 16, 257, 267, 310
MAGIX Online Print Service .....................................................16, 313
MAGIX Online World .......................................................................16
MAGIX Podcast Service................................................................316
MAGIX Screenshare......................................................................319
MAGIX Sound Essentials ................................................................17
MAGIX video export......................................................................276
MAGIX Vita ...................................................................................150
MAGIX Website Maker............................................................16, 315
magix.info............................................................................... 17, 312
340 Index
www.magix.com
Manage login details..................................................................... 317
Manual ...........................................................................................13
Master audio effect rack ....................................................... 297, 307
Master effects...............................................................................168
Master Effects ..............................................................................155
Master track .................................................................................244
Mastering Suite .................................................................... 297, 307
Media database.............................................................................. 22
Media Pool ..................................................................... 48, 306, 329
Media Pool views / template folders...................................... 304, 306
Microscope mode...........................................................................20
MIDI assignment Live Performer.................................... 157, 163, 286
MIDI cabling ...................................................................................94
MIDI Editor ....................................................................... 56, 95, 153
MIDI Editor shortcuts ....................................................................111
MIDI editor techniques.................................................................. 111
MIDI functions ...................................................................... 106, 109
MIDI integration ..............................................................................23
MIDI interface and external sound generator ...................................93
MIDI Machine Control (MMC) ........................................................253
MIDI objects ...................................................................................56
MIDI Objects .................................................................... 56, 92, 147
MIDI objects context menu ...........................................................329
MIDI recording.................................................................. 40, 98, 147
MIDI transposition......................................................................... 298
Mix............................................................................................... 307
Mixdown tracks ..............................................................................69
Mixer.......................................................... 24, 45, 47, 190, 240, 307
MMC modes ................................................................................253
Mono delay (tempo sync / millisec.)............................................... 128
More about MAGIX.........................................................................16
More online services ..................................................................... 313
Mouse modes ................................................................ 59, 324, 332
Move all..........................................................................................60
Move Arranger view...................................................... 295, 326, 330
Move playback control / playback marker / playback area............. 331
Move playback position ................................................................295
Move screen view.........................................................................295
Move selection ...............................................................................59
Move to track .................................................................................59
Move/Zoom with the mouse wheel..................................................41
Move/Zoom with the scroll bar........................................................40
Moving and zooming ....................................................................103
Moving the playback marker ...........................................................43
MultiMax ......................................................................................196
Multimedia files and objects............................................................63
Index 341
www.magix.com
Multimedia Library ..........................................................................21
Multiple insert ...............................................................................293
Multiple insertions.........................................................................290
Mute objects ..................................................................................64
Mute/Unmute objects ...................................................................297
Muted events display ....................................................................100
N
Navigation ....................................................................................294
Navigation buttons..........................................................................49
New arrangement .........................................................................269
New loops ......................................................................................19
Non real-time effects ....................................................................166
Normal mode/Easy mode ...............................................................38
Normalize .....................................................................................298
Notation display, movement, zoom .................................................98
Note display in the piano roll and the controller editor (with velocity
curves) ...........................................................................................99
Note for users of older MAGIX Music Maker 16 Premium versions:118, 119
O
Object ..........................................................................................289
Object and master effects rack ..................................... 167, 168, 297
Object and track curve automation .................................................25
Object automation / Track automation ..........................................304
Object Effects...............................................................................154
Object effects rack........................................................................297
Object fades...................................................................................66
Object handles ...............................................................................66
Object inspector .............................................................................20
Object inspector settings ................................................................55
Object properties....................................................................68, 292
Object Volume..............................................................................168
One pitch higher/lower..................................................................299
Online menu .................................................................................309
Online update ...............................................................................320
Open MIDI Editor ............................................................................95
Open the online training area ........................................................318
Opening the Remix Maker...............................................................87
Opening the synthesizers..............................................................117
Optimize arrangement view.....................................................41, 305
Overview ........................................................................................58
Overview of the program interface...................................................28
Own Projects..................................................................................51
342 Index
www.magix.com
Own recordings.............................................................................. 23
P
Package contents...........................................................................13
Parameters...................................................................................174
Parametric Equalizer............................................. 167, 194, 241, 247
Paste............................................................................................290
Pattern editor - matrix...................................................................123
Pattern editor buttons................................................................... 122
Peak meter............................................................................. 57, 307
Phaser.................................................................................. 129, 201
Phaser parameters .......................................................................201
Piano Roll: Edit events ...................................................... 95, 96, 100
Pitch-sliced-objects and VIP objects............................................. 186
Play demo project...........................................................................30
Play Live Pads .............................................................................. 162
Play object/Play arrangement .......................................................170
Play with Live Performer ...............................................................157
Play/ PlaySolo ................................................................................97
Playback area: Start and end markers..................................... 42, 156
Playback sequence ...................................................................... 158
Playing instruments with the keyboard ...................................... 97, 98
Podcasting ................................................................................... 261
Position audio objects ....................................................................33
Positioning the Media Pool..............................................................48
Possible problems and their solutions ...........................................322
Preface.............................................................................................3
Preparation - Setting the start marker and object end ..................... 82
Presets........................................................................... 87, 175, 190
Preview and load audio files............................................................32
Preview audio.................................................................................61
Preview function ............................................................................. 48
Preview/Smart preview ................................................................. 332
Problems and Remedies regarding the Auto Remix Assistant.......... 86
Properties............................................................................. 280, 292
Properties > Program settings .............................................. 281, 288
Q
Quantization grid ( ........................................................................106
Quantization settings .......................96, 105, 107, 109, 110, 114, 116
Quantize controller events..................................................... 105, 110
Quantize to grid............................................................................ 106
Quick start...................................................................................... 30
Index 343
www.magix.com
R
Rack effects (FX1/FX2)..................................................................221
Range ..........................................................................................292
Real-time effects...........................................................................165
Record a new object.....................................................................289
Record audio output.....................................................................164
Record Live Pads. ........................................................................162
Recording Audio CDs ....................................................... 75, 78, 284
Redo ............................................................................................289
Register as guest of a screen session ...........................................319
Register as host for a screen transfer............................................319
Register online..............................................................................320
Remix...........................................................................................299
Remix agent: Tempo and beat assignment .....................................81
Remix Maker ..................................................................................87
Remove user-defined loops ..........................................................292
Reordering ...................................................................................191
Replace..........................................................................................62
Reprocess arrangement........................................ 256, 271, 275, 316
Requirements ...............................................................................245
Requirements for using the Remix Agent.........................................82
Reset program settings to default... ..............................................288
Reset video effects .......................................................................302
Reverb .........................................................................................173
Revolta 2................................................................................26, 147
Revolta 2 interface........................................................................148
ReWire .................................................................................254, 281
Rhythmic envelope .......................................................................238
Robota .........................................................................................136
Room reverb / Hall reverb .............................................................130
S
Save and load arrangements ..........................................................63
Save arrangement ........................................................................269
Save arrangement as....................................................................269
Save objects as takes...................................................................291
Save only Tempo & Beat information...............................................84
Save Title Effects ..........................................................................303
Save video effects ........................................................................302
Schematic illustration of the Robota synthesis....................... 137, 138
Scrubbing.......................................................................................61
Search the database.......................................................................51
Select all objects...........................................................................291
344 Index
www.magix.com
Select objects................................................................................. 64
Select sounds.................................................................................96
Selecting MIDI events ............................................................. 99, 102
Sequencer............................................................ 113, 142, 157, 158
Sequencer programming .............................................................. 158
Serial number .................................................................................15
Set jump marker...........................................................................294
Set pitch.......................................................................................299
Set volume ...................................................................................297
Setting Catooh ..............................................................................56
Setting the manual and and Onbeat/Offbeat ................................... 83
Setting user-defined loops ............................................................ 292
Settings................................................................................ 280, 288
Setup ........................................................................................... 132
Setups, drum kits, presets, and patterns....................................... 144
Shortening or looping objects .........................................................66
Show MAGIX Music Editor video................................................... 318
Show object marker > Show beat marker/harmony marker ........... 305
Show welcome dialog...................................................................317
Shuffle mode ..................................................................................88
Simplify object presentation ..........................................................225
Single picture as BMP .................................................................. 277
Single picture as JPG ................................................................... 277
Sketchable filter............................................................................171
Smart Preview for the incorporated samples .............................48, 70
Software synthesizer.......................................................................22
Some advice on creating ring tones .............................................. 258
Song Maker...................................................................... 24, 31, 296
Sound synthesis ........................................................................... 136
Sound Warper ..............................................................................177
Soundpool settings......................................................................... 52
SoundVision ............................................................................. 25, 54
Split.......................................................................................... 61, 65
Split objects ........................................................................... 65, 291
Standard layout ............................................................................308
Start introductory video ................................................................318
Step recording via keyboard or controller keyboard......................... 97
Stereo delay ................................................................................. 202
Stereo delay (tempo sync / millisec.) .............................................128
Stereo delay parameters...............................................................202
Stereo FX ..................................................................................... 197
Stretch ...........................................................................................61
Support..........................................................................................11
Switch to Drum Editor Mode and back.......................................... 112
Synchronization............................................................................ 250
Synchronization settings ....................................................... 252, 281
Index 345
www.magix.com
Synchronization settings/ReWire...................................................281
Synth objects ...............................................................................118
Synthesis models .................................................................127, 131
Synthesizer.............................................................................54, 127
Synthesizer objects.................................................................54, 117
Synthesizer plug-ins.......................................................... 56, 68, 147
System requirements......................................................................13
T
Takes ............................................................................. 68, 161, 291
Tasks menu..................................................................................317
Template setting.............................................................................55
Tempo............................................................................................45
Tempo adjustment..........................................................................84
Tempo and pitch ..........................................................................298
Text to Speech ............................................................... 90, 289, 297
The bass section (bottom half) ......................................................134
The CD-ROM configuration dialog...................................................78
The features ...................................................................................21
The Mixer in surround mode ......................................... 247, 271, 272
The rhythm section (top half).........................................................133
The track list dialog.........................................................................76
The Vita interface..........................................................................150
Time display ...................................................................................45
Timestretch and pitchshift.....................................................192, 298
Title ..............................................................................................303
Title editor .................................................................... 227, 290, 303
Title Editor ....................................................................................303
Toolbar.........................................................................................324
Tools ............................................................................................104
Tools in the Elastic Audio easy editor ............................................183
Track............................................................................................293
Track effects........................................... 40, 154, 167, 199, 241, 242
Track position slider........................................................................46
Trackboxes and Instrument icons ...................................................39
Tracks ............................................................................................38
Transfer via infrared ......................................................................260
Transfer with Bluetooth.................................................................259
Transform sequence in arrangement .............................................158
Transport Bar (playback functions)..................................................44
Transpose MIDI ..............................................................................93
U
Undo ............................................................................................289
346 Index
www.magix.com
Ungroup objects................................................................... 226, 291
Update program / Upgrade functions............................................ 320
Upload audio to MySpace/DJ Tunes............................................. 273
Upload podcast............................................................................263
Upload song to DJ Tunes ............................................................. 267
Upload songs to MySpace.............................................................. 20
Upload to YouTube ...................................................................... 278
Use harmony recognition ................................................................90
Use transport console as remote control for external device.......... 253
Use VST instruments ...................................................... 96, 117, 152
Using audio effects....................................................................... 166
Using BPM and beat detection ....................................................... 84
V
Vandal.................................................................................. 154, 217
Vandal SE ......................................................................................20
Vandal SE - Amplifier .................................................................... 219
Vandal SE - Input .........................................................................218
Vandal SE - quick start via preset selection ................................... 218
Vandal SE - Stomp boxes............................................................. 219
Vandal SE - Tuner ........................................................................218
Various file list view modes ............................................................. 49
Velocity ................................................................................ 124, 125
Video.............................................................................. 47, 287, 302
Video > Edit bitmap externally....................................................... 303
Video and bitmap formats............................................................. 224
Video and Bitmap Objects .................................................... 224, 257
Video as AVI................................................................................. 275
Video as Quicktime Movie............................................................. 276
Video as Windows Media...................................................... 273, 276
Video capturings........................................................... 229, 278, 289
Video Compression ...................................................................... 232
Video effects ........................................................................ 226, 302
Video export dialog....................................................................... 274
Video export via TV-out ................................................................ 234
Video monitor............................................................................... 306
Video Monitor....................................................................... 306, 330
Video recording ...................................................................... 25, 278
Video recording dialog .................................................................. 230
Video scrubbing ...........................................................................226
Videoscreen ...................................................................................57
View menu ........................................................................... 305, 328
Vintage compressor...................................................................... 131
Vintage Effects Suite..................................................... 154, 169, 203
Visualizer objects.......................................................................... 225
Index 347
www.magix.com
Vocoder .......................................................................................188
Volume.........................................................................................297
Volume or filter progressions.........................................................190
Volume regulation...........................................................................45
VST and DirectX audio plugins......................................................242
VST and DirectX plug-ins .............................................. 147, 152, 169
VST Plug-in Editor ..................................................................96, 153
W
What are VST and DirectX plug-ins? .......................................96, 152
What is MAGIX Music Maker 16 Premium? .....................................19
What is MIDI? .................................................................................92
What’s new in MAGIX Music Maker 16 Premium? ...........................19
Z
Zoom buttons.................................................................................41
Zooming.........................................................................................40

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